Patricia MacCormack – författare

We are in the midst of a growing ecological crisis. Developing technologies and cultural interventions are throwing the status of “human” into question. It is against this context that Patricia McCormack delivers her expert justification for the “ahuman”. An alternative to “posthuman” thought, the term paves the way for thinking that doesn’t dissolve into nihilism and despair, but actively embraces issues like human extinction, vegan abolition, atheist occultism, death studies, a refusal of identity politics, deep ecology, and the apocalypse as an optimistic beginning.In order to suggest vitalistic, perhaps even optimistic, ways to negotiate some of the difficulties in thinking and acting in the world, this book explores five key contemporary themes:· Identity· Spirituality· Art· Death· The apocalypseCollapsing activism, artistic practice and affirmative ethics, while introducing some radical contemporary ideas and addressing specifically modern phenomena like death cults, intersectional identity politics and capitalist enslavement of human and nonhuman organisms to the point of ‘zombiedom’, The Ahuman Manifesto navigates the ways in which we must compose the human differently, specifically beyond nihilism and post- and trans-humanism and outside human privilege. This is so that we can actively think and live viscerally, with connectivity (actual not virtual), and with passion and grace, toward a new world.

Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary 'cinesexual' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches. Film as its own form of philosophy invokes spectatorship thought as an ethics of desire. Original, exciting and theoretically sophisticated - focusing on continental philosophy, particularly Guattari, Deleuze, Blanchot, Foucault, Lyotard, Irigaray and Serres - the book will be of interest to scholars and students of queer, gender and feminist studies, film and aesthetics theory, cultural studies, media and communication, post-structural theory and contemporary philosophical thought.

Posthuman theory asks in various ways what it means to be human in a time when philosophy has become suspicious of claims about human subjectivity. Those subjects who were historically considered aberrant, and our future lives becoming increasingly hybrid show we have always been and are continuously transforming into posthumans. What are the ethical considerations of thinking the posthuman? Posthuman Ethics asks not what the posthuman is, but how posthuman theory creates new, imaginative ways of understanding relations between lives. Ethics is a practice of activist, adaptive and creative interaction which avoids claims of overarching moral structures. Inherent in thinking posthuman ethics is the status of bodies as the site of lives inextricable from philosophy, thought, experiments in being and fantasies of the future. Posthuman Ethics explores certain kinds of bodies to think new relations that offer liberty and a contemplation of the practices of power which have been exerted upon bodies. The tattooed and modified body, the body made ecstatic through art, the body of the animal as a strategy for abolitionist animal rights, the monstrous body from teratology to fabulations, queer bodies becoming angelic, the bodies of the nation of the dead and the radical ways in which we might contemplate human extinction are the bodies which populate this book creating joyous political tactics toward posthuman ethics.

Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary 'cinesexual' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches. Film as its own form of philosophy invokes spectatorship thought as an ethics of desire. Original, exciting and theoretically sophisticated - focusing on continental philosophy, particularly Guattari, Deleuze, Blanchot, Foucault, Lyotard, Irigaray and Serres - the book will be of interest to scholars and students of queer, gender and feminist studies, film and aesthetics theory, cultural studies, media and communication, post-structural theory and contemporary philosophical thought.

Posthuman theory asks in various ways what it means to be human in a time when philosophy has become suspicious of claims about human subjectivity. Those subjects who were historically considered aberrant, and our future lives becoming increasingly hybrid show we have always been and are continuously transforming into posthumans. What are the ethical considerations of thinking the posthuman? Posthuman Ethics asks not what the posthuman is, but how posthuman theory creates new, imaginative ways of understanding relations between lives. Ethics is a practice of activist, adaptive and creative interaction which avoids claims of overarching moral structures. Inherent in thinking posthuman ethics is the status of bodies as the site of lives inextricable from philosophy, thought, experiments in being and fantasies of the future. Posthuman Ethics explores certain kinds of bodies to think new relations that offer liberty and a contemplation of the practices of power which have been exerted upon bodies. The tattooed and modified body, the body made ecstatic through art, the body of the animal as a strategy for abolitionist animal rights, the monstrous body from teratology to fabulations, queer bodies becoming angelic, the bodies of the nation of the dead and the radical ways in which we might contemplate human extinction are the bodies which populate this book creating joyous political tactics toward posthuman ethics.

Posthuman theory asks in various ways what it means to be human in a time when philosophy has become suspicious of claims about human subjectivity. Those subjects who were historically considered aberrant, and our future lives becoming increasingly hybrid show we have always been and are continuously transforming into posthumans. What are the ethical considerations of thinking the posthuman? Posthuman Ethics asks not what the posthuman is, but how posthuman theory creates new, imaginative ways of understanding relations between lives. Ethics is a practice of activist, adaptive and creative interaction which avoids claims of overarching moral structures. Inherent in thinking posthuman ethics is the status of bodies as the site of lives inextricable from philosophy, thought, experiments in being and fantasies of the future. Posthuman Ethics explores certain kinds of bodies to think new relations that offer liberty and a contemplation of the practices of power which have been exerted upon bodies. The tattooed and modified body, the body made ecstatic through art, the body of the animal as a strategy for abolitionist animal rights, the monstrous body from teratology to fabulations, queer bodies becoming angelic, the bodies of the nation of the dead and the radical ways in which we might contemplate human extinction are the bodies which populate this book creating joyous political tactics toward posthuman ethics.

Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary ''cinesexual'' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches. Film as its own form of philosophy invokes spectatorship thought as an ethics of desire. Original, exciting and theoretically sophisticated - focusing on continental philosophy, particularly Guattari, Deleuze, Blanchot, Foucault, Lyotard, Irigaray and Serres - the book will be of interest to scholars and students of queer, gender and feminist studies, film and aesthetics theory, cultural studies, media and communication, post-structural theory and contemporary philosophical thought.

Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary ''cinesexual'' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches. Film as its own form of philosophy invokes spectatorship thought as an ethics of desire. Original, exciting and theoretically sophisticated - focusing on continental philosophy, particularly Guattari, Deleuze, Blanchot, Foucault, Lyotard, Irigaray and Serres - the book will be of interest to scholars and students of queer, gender and feminist studies, film and aesthetics theory, cultural studies, media and communication, post-structural theory and contemporary philosophical thought.

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics – in the forms of visual art, film, sculpture, painting, literature, and the screenplay – can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari’s own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical and ecologically sensitive world view. Each chapter author analyses artworks which critique capitalism’s industrial devastation of the environment, while at the same time offering affirmative, imaginative futures suggested by art. Including contributions from philosophers, film theorists and artists, this book asks: How can we interact with the world in a non-dominant and non-destructive way? How can art catalyze new ethical relations with non-human entities and the environment? And, crucially, what part can philosophy play in rethinking these structures of interaction?

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics – in the forms of visual art, film, sculpture, painting, literature, and the screenplay – can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari''s own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical and ecologically sensitive world view. Each chapter author analyses artworks which critique capitalism''s industrial devastation of the environment, while at the same time offering affirmative, imaginative futures suggested by art. Including contributions from philosophers, film theorists and artists, this book asks: How can we interact with the world in a non-dominant and non-destructive way? How can art catalyze new ethical relations with non-human entities and the environment? And, crucially, what part can philosophy play in rethinking these structures of interaction?

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics – in the forms of visual art, film, sculpture, painting, literature, and the screenplay – can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari''s own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical and ecologically sensitive world view. Each chapter author analyses artworks which critique capitalism''s industrial devastation of the environment, while at the same time offering affirmative, imaginative futures suggested by art. Including contributions from philosophers, film theorists and artists, this book asks: How can we interact with the world in a non-dominant and non-destructive way? How can art catalyze new ethical relations with non-human entities and the environment? And, crucially, what part can philosophy play in rethinking these structures of interaction?

We are in the midst of a growing ecological crisis. Developing technologies and cultural interventions are throwing the status of “human” into question. It is against this context that Patricia McCormack delivers her expert justification for the “ahuman”. An alternative to “posthuman” thought, the term paves the way for thinking that doesn’t dissolve into nihilism and despair, but actively embraces issues like human extinction, vegan abolition, atheist occultism, death studies, a refusal of identity politics, deep ecology, and the apocalypse as an optimistic beginning.In order to suggest vitalistic, perhaps even optimistic, ways to negotiate some of the difficulties in thinking and acting in the world, this book explores five key contemporary themes:· Identity· Spirituality· Art· Death· The apocalypseCollapsing activism, artistic practice and affirmative ethics, while introducing some radical contemporary ideas and addressing specifically modern phenomena like death cults, intersectional identity politics and capitalist enslavement of human and nonhuman organisms to the point of ‘zombiedom’, The Ahuman Manifesto navigates the ways in which we must compose the human differently, specifically beyond nihilism and post- and trans-humanism and outside human privilege. This is so that we can actively think and live viscerally, with connectivity (actual not virtual), and with passion and grace, toward a new world.

We are in the midst of a growing ecological crisis. Developing technologies and cultural interventions are throwing the status of “human” into question. It is against this context that Patricia McCormack delivers her expert justification for the “ahuman”. An alternative to “posthuman” thought, the term paves the way for thinking that doesn''t dissolve into nihilism and despair, but actively embraces issues like human extinction, vegan abolition, atheist occultism, death studies, a refusal of identity politics, deep ecology, and the apocalypse as an optimistic beginning.In order to suggest vitalistic, perhaps even optimistic, ways to negotiate some of the difficulties in thinking and acting in the world, this book explores five key contemporary themes:· Identity· Spirituality· Art· Death· The apocalypseCollapsing activism, artistic practice and affirmative ethics, while introducing some radical contemporary ideas and addressing specifically modern phenomena like death cults, intersectional identity politics and capitalist enslavement of human and nonhuman organisms to the point of ''zombiedom'', The Ahuman Manifesto navigates the ways in which we must compose the human differently, specifically beyond nihilism and post- and trans-humanism and outside human privilege. This is so that we can actively think and live viscerally, with connectivity (actual not virtual), and with passion and grace, toward a new world.

We are in the midst of a growing ecological crisis. Developing technologies and cultural interventions are throwing the status of “human” into question. It is against this context that Patricia McCormack delivers her expert justification for the “ahuman”. An alternative to “posthuman” thought, the term paves the way for thinking that doesn''t dissolve into nihilism and despair, but actively embraces issues like human extinction, vegan abolition, atheist occultism, death studies, a refusal of identity politics, deep ecology, and the apocalypse as an optimistic beginning.In order to suggest vitalistic, perhaps even optimistic, ways to negotiate some of the difficulties in thinking and acting in the world, this book explores five key contemporary themes:· Identity· Spirituality· Art· Death· The apocalypseCollapsing activism, artistic practice and affirmative ethics, while introducing some radical contemporary ideas and addressing specifically modern phenomena like death cults, intersectional identity politics and capitalist enslavement of human and nonhuman organisms to the point of ''zombiedom'', The Ahuman Manifesto navigates the ways in which we must compose the human differently, specifically beyond nihilism and post- and trans-humanism and outside human privilege. This is so that we can actively think and live viscerally, with connectivity (actual not virtual), and with passion and grace, toward a new world.

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics – in the forms of visual art, film, sculpture, painting, literature, and the screenplay – can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari’s own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical and ecologically sensitive world view. Each chapter author analyses artworks which critique capitalism’s industrial devastation of the environment, while at the same time offering affirmative, imaginative futures suggested by art. Including contributions from philosophers, film theorists and artists, this book asks: How can we interact with the world in a non-dominant and non-destructive way? How can art catalyze new ethical relations with non-human entities and the environment? And, crucially, what part can philosophy play in rethinking these structures of interaction?

Traditional Western attitudes towards death deal with it as a painful inevitability, something that has to be navigated as a trauma and a taboo. They focus essentially on the ‘management’ of death, an anthropocentric practice prioritising the human life above every other type of existence.Patricia MacCormack explores how we can develop a ‘death activism’ – a variety of tactics and posthuman practices which celebrate death, its inevitability, its forms, from the slow to times of crisis, and how trauma and mourning emerge as their own forms of expression. Crucial to the foundation of death activism is the dissymmetry with which different deaths are met including the mass death of nonhuman animals and ecologies.Death Activism is a feminist, queer, postcolonialist enquiry, that seeks to queer death – making queer our usual familiar death habits and trajectories of thought, toward a jubilant activism that can transform death into a more democratically equal, and a more jubilant force for life.

Traditional Western attitudes towards death deal with it as a painful inevitability, something that has to be navigated as a trauma and a taboo. They focus essentially on the ‘management’ of death, an anthropocentric practice prioritising the human life above every other type of existence.Patricia MacCormack explores how we can develop a ‘death activism’ – a variety of tactics and posthuman practices which celebrate death, its inevitability, its forms, from the slow to times of crisis, and how trauma and mourning emerge as their own forms of expression. Crucial to the foundation of death activism is the dissymmetry with which different deaths are met including the mass death of nonhuman animals and ecologies.Death Activism is a feminist, queer, postcolonialist enquiry, that seeks to queer death – making queer our usual familiar death habits and trajectories of thought, toward a jubilant activism that can transform death into a more democratically equal, and a more jubilant force for life.

Traditional Western attitudes towards death deal with it as a painful inevitability, something that has to be navigated as a trauma and a taboo. They focus essentially on the ''management'' of death, an anthropocentric practice prioritising the human life above every other type of existence.Patricia MacCormack explores how we can develop a ''death activism'' – a variety of tactics and posthuman practices which celebrate death, its inevitability, its forms, from the slow to times of crisis, and how trauma and mourning emerge as their own forms of expression. Crucial to the foundation of death activism is the dissymmetry with which different deaths are met including the mass death of nonhuman animals and ecologies. Death Activism is a feminist, queer, postcolonialist enquiry, that seeks to queer death – making queer our usual familiar death habits and trajectories of thought, toward a jubilant activism that can transform death into a more democratically equal, and a more jubilant force for life.

Traditional Western attitudes towards death deal with it as a painful inevitability, something that has to be navigated as a trauma and a taboo. They focus essentially on the ''management'' of death, an anthropocentric practice prioritising the human life above every other type of existence.Patricia MacCormack explores how we can develop a ''death activism'' – a variety of tactics and posthuman practices which celebrate death, its inevitability, its forms, from the slow to times of crisis, and how trauma and mourning emerge as their own forms of expression. Crucial to the foundation of death activism is the dissymmetry with which different deaths are met including the mass death of nonhuman animals and ecologies. Death Activism is a feminist, queer, postcolonialist enquiry, that seeks to queer death – making queer our usual familiar death habits and trajectories of thought, toward a jubilant activism that can transform death into a more democratically equal, and a more jubilant force for life.

Posthuman theory asks in various ways what it means to be human in a time when philosophy has become suspicious of claims about human subjectivity. Those subjects who were historically considered aberrant, and our future lives becoming increasingly hybrid show we have always been and are continuously transforming into posthumans. What are the ethical considerations of thinking the posthuman? Posthuman Ethics asks not what the posthuman is, but how posthuman theory creates new, imaginative ways of understanding relations between lives. Ethics is a practice of activist, adaptive and creative interaction which avoids claims of overarching moral structures. Inherent in thinking posthuman ethics is the status of bodies as the site of lives inextricable from philosophy, thought, experiments in being and fantasies of the future. Posthuman Ethics explores certain kinds of bodies to think new relations that offer liberty and a contemplation of the practices of power which have been exerted upon bodies. The tattooed and modified body, the body made ecstatic through art, the body of the animal as a strategy for abolitionist animal rights, the monstrous body from teratology to fabulations, queer bodies becoming angelic, the bodies of the nation of the dead and the radical ways in which we might contemplate human extinction are the bodies which populate this book creating joyous political tactics toward posthuman ethics.

In 1971, Deleuze and Guattari''s collaborative work, Anti-Oedipus: Capitalism and Schizophrenia caused an international sensation by fusing Marx with a radically rewritten Freud to produce a new approach to critical thinking, which they provocatively called "schizoanalysis." Deleuze and the Schizoanalysis of Cinema explores the possibilities of using this concept to investigate cinematic works in both the Hollywood and non-Hollywood tradition. It attempts to define what a schizoanalysis of cinema might be and introduces a variety of ways in which a schizoanalysis might be applied. This collection opens up a fresh field of inquiry for Deleuze scholars and poses an exciting challenge to cinema studies in general. Featuring some of the most important cinema studies scholars working on Deleuze and Guattari today, Deleuze and the Schizoanalysis of Cinema is a cutting edge collection that will set the agenda for future work in this area.  Contributors include: Gregory Flaxman, Amy Herzog, Joe Hughes, Gregg Lambert, Patricia MacCormack, Bill Marshall, David Martin-Jones, Elena Oxman, Patricia Pisters, Anna Powell and Mark Riley.

In 1971, Deleuze and Guattari's collaborative work, Anti-Oedipus: Capitalism and Schizophrenia caused an international sensation by fusing Marx with a radically rewritten Freud to produce a new approach to critical thinking, which they provocatively called "schizoanalysis." Deleuze and the Schizoanalysis of Cinema explores the possibilities of using this concept to investigate cinematic works in both the Hollywood and non-Hollywood tradition. It attempts to define what a schizoanalysis of cinema might be and introduces a variety of ways in which a schizoanalysis might be applied. This collection opens up a fresh field of inquiry for Deleuze scholars and poses an exciting challenge to cinema studies in general. Featuring some of the most important cinema studies scholars working on Deleuze and Guattari today, Deleuze and the Schizoanalysis of Cinema is a cutting edge collection that will set the agenda for future work in this area.Contributors include: Gregory Flaxman, Amy Herzog, Joe Hughes, Gregg Lambert, Patricia MacCormack, Bill Marshall, David Martin-Jones, Elena Oxman, Patricia Pisters, Anna Powell and Mark Riley.

The Animal Catalyst deals with the 'question' of 'what is an animal' and also in some instances, 'what is a human'? It pushes critical animal studies in important new directions; it re-examines basic assumptions, suggests new paradigms for how we can live and function ecologically, in a world that is not simply "ours." It argues that it is not enough to recognise the ethical demands placed upon us by our encounters with animals, or to critique our often murderous treatment of them: this simply reinforces human exceptionalism. Featuring contributions from leading academics, lawyers, artists and activists, the book examines key issues such as: - How "compassion" for animals reinforces ideas of what distinguishes human beings from other animals. - How speciesism and human centricity are built into the legal system. - How individualist subjectivity works in relation to animals who may not think of themselves in the same way. - How any consideration of animal others must involve a radical deconstruction of our very notion of the "human." - How art, philosophy and literature can both avoid speciesism and deliver the human from subjectivity.This volume is a unique project which stands at the cutting edge of both animal rights philosophies and posthuman/artistic/abstract philosophies of identity. It will be of great interest to undergraduates and researchers in philosophy, ethics, particularly continental philosophy, critical theory and cultural studies.

The Animal Catalyst deals with the ''question'' of ''what is an animal'' and also in some instances, ''what is a human''? It pushes critical animal studies in important new directions; it re-examines basic assumptions, suggests new paradigms for how we can live and function ecologically, in a world that is not simply "ours." It argues that it is not enough to recognise the ethical demands placed upon us by our encounters with animals, or to critique our often murderous treatment of them: this simply reinforces human exceptionalism. Featuring contributions from leading academics, lawyers, artists and activists, the book examines key issues such as: - How "compassion" for animals reinforces ideas of what distinguishes human beings from other animals. - How speciesism and human centricity are built into the legal system. - How individualist subjectivity works in relation to animals who may not think of themselves in the same way. - How any consideration of animal others must involve a radical deconstruction of our very notion of the "human." - How art, philosophy and literature can both avoid speciesism and deliver the human from subjectivity.This volume is a unique project which stands at the cutting edge of both animal rights philosophies and posthuman/artistic/abstract philosophies of identity. It will be of great interest to undergraduates and researchers in philosophy, ethics, particularly continental philosophy, critical theory and cultural studies.

The Animal Catalyst deals with the ''question'' of ''what is an animal'' and also in some instances, ''what is a human''? It pushes critical animal studies in important new directions; it re-examines basic assumptions, suggests new paradigms for how we can live and function ecologically, in a world that is not simply "ours." It argues that it is not enough to recognise the ethical demands placed upon us by our encounters with animals, or to critique our often murderous treatment of them: this simply reinforces human exceptionalism. Featuring contributions from leading academics, lawyers, artists and activists, the book examines key issues such as: - How "compassion" for animals reinforces ideas of what distinguishes human beings from other animals. - How speciesism and human centricity are built into the legal system. - How individualist subjectivity works in relation to animals who may not think of themselves in the same way. - How any consideration of animal others must involve a radical deconstruction of our very notion of the "human." - How art, philosophy and literature can both avoid speciesism and deliver the human from subjectivity.This volume is a unique project which stands at the cutting edge of both animal rights philosophies and posthuman/artistic/abstract philosophies of identity. It will be of great interest to undergraduates and researchers in philosophy, ethics, particularly continental philosophy, critical theory and cultural studies.

The Animal Catalyst deals with the 'question' of 'what is an animal' and also in some instances, 'what is a human'? It pushes critical animal studies in important new directions; it re-examines basic assumptions, suggests new paradigms for how we can live and function ecologically, in a world that is not simply "ours." It argues that it is not enough to recognise the ethical demands placed upon us by our encounters with animals, or to critique our often murderous treatment of them: this simply reinforces human exceptionalism. Featuring contributions from leading academics, lawyers, artists and activists, the book examines key issues such as: - How "compassion" for animals reinforces ideas of what distinguishes human beings from other animals. - How speciesism and human centricity are built into the legal system. - How individualist subjectivity works in relation to animals who may not think of themselves in the same way. - How any consideration of animal others must involve a radical deconstruction of our very notion of the "human." - How art, philosophy and literature can both avoid speciesism and deliver the human from subjectivity.This volume is a unique project which stands at the cutting edge of both animal rights philosophies and posthuman/artistic/abstract philosophies of identity. It will be of great interest to undergraduates and researchers in philosophy, ethics, particularly continental philosophy, critical theory and cultural studies.

The first volume to address the animal in Deleuze’s work, looking at philosophy, aesthetics and ethicsBecoming-animal is a key concept for Deleuze and Guattari; the ambiguous idea of the animal as human and nonhuman life infiltrates all of Deleuze’s work. These 16 essays apply Deleuze’s work to analysing television, film, music, art, drunkenness, mourning, virtual technology, protest, activism, animal rights and abolition. Each chapter questions the premise of the animal and critiques the centrality of the human. This collection creates new questions about what the age of the Anthropocene means by ‘animal’ and analyses and explores examples of the unclear boundaries between human and animal.

The first volume to address the animal in Deleuze’s work, looking at philosophy, aesthetics and ethicsBecoming-animal is a key concept for Deleuze and Guattari; the ambiguous idea of the animal as human and nonhuman life infiltrates all of Deleuze’s work. These 16 essays apply Deleuze’s work to analysing television, film, music, art, drunkenness, mourning, virtual technology, protest, activism, animal rights and abolition. Each chapter questions the premise of the animal and critiques the centrality of the human. This collection creates new questions about what the age of the Anthropocene means by ‘animal’ and analyses and explores examples of the unclear boundaries between human and animal.

This is a hugely important collection of essays on Deleuze and Cinema from an international panel of experts.In 1971, Deleuze and Guattari's collaborative work, "Anti-Oedipus: Capitalism and Schizophrenia" caused an international sensation by fusing Marx with a radically rewritten Freud to produce a new approach to critical thinking they provocatively called schizoanalysis. "Deleuze and the Schizoanalysis of Cinema" explores the possibilities of using this concept to interrogate cinematic works in both the Hollywood and non-Hollywood tradition. It attempts to define what a schizoanalysis of cinema might be and interrogates a variety of ways in which a schizoanalysis might be applied.This collection opens up a fresh field of inquiry for Deleuze scholars and poses an exciting challenge to cinema studies in general. Featuring some of the most important cinema studies scholars working on Deleuze and Guattari today, "Deleuze and the Schizoanalysis of Cinema" is a cutting-edge collection that will set the agenda for future work in this area.