Univocal – serie

Available for the first time in English: the complete and annotated transcripts of Deleuze’s 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze’s thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon. Through paintings and writing by Rembrandt, Delacroix, Turner, CÉzanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all? Written and thought in a rhizomatic manner that is thoroughly Deleuzian-strange, powerful, and novel-On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

Few thinkers have been as influential upon current discussions and theoretical practices in the age of media archaeology, philosophy of technology, and digital humanities as the French thinker Gilbert Simondon. Simondon’s prolific intellectual curiosity led his philosophical and scientific reflections to traverse a variety of areas of research, including philosophy, psychology, the beginnings of cybernetics, and the foundations of religion. For Simondon, the human/machine distinction is perhaps not a simple dichotomy. There is much we can learn from our technical objects, and while it has been said that humans have an alienating rapport with technical objects, Simondon takes up the task of a true thinker who sees the potential for humanity to uncover life-affirming modes of technical objects whereby we can discover potentiality for novel, healthful, and dis-alienating rapports with them. For Simondon, by way of studying its genesis, one must grant to the technical object the same ontological status as that of the aesthetic object or even a living being. His work thus opens up exciting new entry points into studying the human’s rapport with its continually changing technical reality. This first complete English-language translation of Gilbert Simondon’s groundbreaking and influential work finally presents to Anglophone readers one of the pinnacle works of France’s most unique thinkers of technics.

What would a sculpture look like that has as its task to touch thought? For the French philosopher and Art Historian, Georges Didi-Huberman, this is the central question that permeates throughout the work of Italian artist Giuseppe Penone. Through a careful study of Penones work regarding a sculptural and haptic process of contact with place, thought, and artistic practice, Didi-Huberman takes the reader on a journey through various modes of thinking by way of being. Taking Penones artwork Being the riveras a thematic starting point, Didi-Huberman sketches a sweeping view of how artists through the centuries have worked with conceptions of the skull, that is, the mind, and ruminates on where thought is indeed located. From Leonardo da Vinci to Albrecht Dfcrer, Didi-Huberman guides us to the work of Penone and from there, into the attempts of a sculptor whose works strives to touch thought. What we uncover is a sculptor whose work becomes a series of traces of the site of thought. Attempting to trace, by way of a series of frottages, reports, and developments, this imperceptible zone of contact. The result is a kind of fossil of the brain: the site of thought, namely, the site for getting lost and for disproving space. Sculpting at the same time what inhabits as well as what incorporates us.

World-renowned philosopher, Michel Serres writes a text in praise of the body and movement, in praise of teachers of physical education, coaches, mountain guides, athletes, dancers, mimes, clowns, artisans, and artists. This work describes the variations, the admirable metamorphoses that the body can accomplish. While animals lack such a variety of gestures, postures, and movements, the fluidity of the human body mimics the leisure of living beings and things; what’s more, it creates signs. Already here, within its movements and metamorphoses, the mind is born. The five senses are not the only source of knowledge: it emerges, in large part, from the imitations the plasticity of the body allows. In it, with it, by it knowledge begins.

Virginia Woolf, to whom university admittance had been forbidden, watched the universities open their doors. Though she was happy that her sisters could study in university libraries, she cautioned women against joining the procession of educated men and being co-opted into protecting a “civilization” with values alien to women. Now, as Woolf’s disloyal (unfaithful) daughters, who have professional positions in Belgian universities, Isabelle Stengers and Vinciane Despret, along with a collective of women scholars in Belgium and France, question their academic careers and reexamine the place of women and their role in thinking, both inside and outside the university. They urge women to heed Woolf’s cry-Think We Must-and to always make a fuss about injustice, cruelty, and arrogance.

Originally published in 1995, Advances was first written by Jacques Derrida as a long foreword to a book by one of his most promising former students, the philosopher Serge Margels Le Tombeau du Dieu Artisan (The Tomb of the Craftsman). What Derrida uncovers for us is Margels own unique theory of the promise in relation to an an-archic, pre-chronological temporality, in conjunction with Margels radical rereading of Platos Timaeus. As Derrida states right away, Margels reading is a new one, a new reading of the Demiurge. A new promise. A new advance. In this magisterial late essay by Derrida, what the reader soon discovers is in part a conversation with his former student, as well as an opening for a new reflection on our current ecological and political crises that are all the more urgent today where the possibility of giving ourselves death as a human race and the end of the world is now, within an era of climate change, more real than ever. As part of Univocals Pharmakon series, this essay, itself published in advance, becomes a brief but powerful light pointing toward Univocals forthcoming publication of the translation of Serge Margels Le Tombeau du Dieu Artisan. Once again the Timaeus, of course, but a different Timaeus, a new Demiurge, I promise.

How is it that when we think of time, we hardly think of the role affect plays in granting us access to time: the sense of waiting, regret, mourning, melancholy? In Powers of Time, David Lapoujade returns to two central themes that continuously converge throughout the writings of the French philosopher Henri Bergson: dure9e (duration) and intuition. If duration is synonymous with memory, how are we then capable of thinking an authentic sense of the future? Does this mean that freedom is nothing more than a reprisal of our past? Lapoujade uncovers multiple versions of Bergson: a philosopher of sympathy, a melancholic philosopher, a perspectivist Bergson, a spiritualist Bergson. Leading us beyond simplistic anthropomorphic conceptions of temporality and intuition, Lapoujades multiple Bergsons guide us to encounter a rapport with time, memory, and duration that places us in direct contact with the nonhuman flows and movements of the universe.

In Language and Reality, originally published in Se3o Paulo, Brazil, in 1964, Vile9m Flusser continues his philosophical and theoretical exploration into language. He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Flussers thesis leads him to claim, in a seemingly missed encounter of a dialogue with Wittgenstein, that language is not limited to its ontological and epistemological aspects but rather is at the service of its aesthetic. Traversing a diverse area of research and ruminations on cybernetics to poetry, music, the visual arts, religion, and mysticism, Language and Reality can be viewed as a vital transitional work in Flussers emerging thought that will eventually lead to his works in the 1970s and 1980s concerning what we would later consider media theory, design, and digital culture.

On the complex aesthetics and ontology at work in Étienne Souriau’s unique oeuvreIn this concise but expansive exegesis of the philosophical aesthetics of Étienne Souriau, philosopher David Lapoujade provides a lucid introduction to many of the key concepts underpinning Souriau’s existential pluralism. Among the various modes of existence that populate a world, Souriau grants particular importance to virtual beings-the lesserexistences. Always taking the form of a sketch or an outline, the perfection of such existences lies precisely in the incompletion with which they imbue all reality. They exist with a problematizing force, posing questions and inviting the establishment of an “art” that would make them more real. And yet, for this to happen, another existence must first see them-must be capable of hearing their appeals-and must be willing to defend their right to exist.Through discussions of modern art ranging from the dispossessed characters of Kafka and Beckett to the grids of Agnes Martin and the protographies of Oscar MuÑoz, Lapoujade leads the reader into a complex philosophical world, brimming with modal existences and animated by a unique conception of creative processes, where the philosopher as artist or artist as philosopher becomes an advocate, defending the right of certain realities to gain in existence. For Souriau, nothing is given in advance, everything is a work in the making: such is the instaurative practice that grounds his entire oeuvre.

A unique rereading of Lacan’s theory of desire and its link to masochism, joy, mysticism, death, and feminine jouissanceOf all of Lacan’s reconceptualizations of Freudian psychoanalytic discourse, the most misunderstood are those concerning human beings’ relation to the unconscious play of desire and the neurosis stemming from their attachment to the phallic function. An interpretive tour de force that engages works by surrealists such as AndrÉ Breton, canonical writers like William Faulkner and James Joyce, and the philosophers Jean-Paul Sartre, Emmanuel Levinas, and Baruch Spinoza, The Decision of Desire is groundbreaking in its proposal that each of us can seek out and reimagine our relation to the infinite aporias of desire and thereby detach from its destructive, repetitive forms in favor of joy and affirmation. Providing insight to the lay reader of psychoanalytic theory as much as to practicing psychoanalysts, The Decision of Desire is a bold reengagement with the legacy of the notion of desire within psychoanalysis and the quandary of how to assume responsibility for desires. For if desire is always already that of the Other and the unconscious, and also a decision that escapes our consciousness of ourselves, how can we assume an ethical relation to it that avoids the vicious circle of disappointment, neurosis, and destruction? Such is the decision of desire attempted within Silvia Lippi’s profound development of a contemporary psychoanalytic thought.

Thinking judgment in relation to the work of Jean-FranÇois Lyotard“How to judge-Jean-FranÇois Lyotard?” It is from this initial question that one of France’s most heralded philosophers of the twentieth century begins his essay on the origin of the law, of judgment, and the work of his colleague Jean-FranÇois Lyotard. If Jacques Derrida begins with the term prÉjugÉs, it is in part because of its impossibility to be rendered properly in other languages and also contain all its meanings: to pre-judge, to judge before judging, to hold prejudices, to know “how to judge,” and more still, to be already prejudged oneself. Striving to contain that which comes before the law, that is in front of the law and also prior to it, how to judge Jean-FranÇois Lyotard then becomes perhaps a beneficial attempt for Derrida to explore humanity’s rapport with judgment, origins, and naming. For how does one come to judge the author of the Differend? How does one abstain from judgment to accept the term prÉjugÉs as suspending judgment and at once as taking into account the impossibility of speaking before the law, prior to naming or judging? If this task indeed seems insurmountable, it is the site where Lyotard’s work itself is played out. Hence this sincere and intriguing essay presented by Jacques Derrida, published here for the first time in English.

A far-reaching reinterpretation of Plato’s Timaeus and its engagement with time, eternity, body, and soul that in its original French edition profoundly influenced Derrida The Tomb of the Artisan God provides a radical rereading of Timaeus, Plato’s metaphysical text on time, eternity, and the relationship between soul and body. First published in French in 1995, the original edition of Serge Margel’s book included an extensive introductory essay by Jacques Derrida, who drew on Margel’s insights in developing his own concepts of time, the promise, the world, and khōra. Now available in English with a new preface by Margel, this engagement with Platonic thought proceeds from two questions that span the history of philosophy: What is time? What is the body?Margel’s twinned interrogation centers around Plato’s concept of the demiurge (divine artisan or craftsman): its body, its anthropomorphic attributes, its productive capacities and regulatory functions in the ordering/organization/assembling of the world. He posits that this paradoxical figure is not merely a cosmological metaphor for the living body but also the site of its destruction, dissolution, and disappearance. Torn between the finite and the infinite, being and becoming, the concept of demiurge also poses metaphysical questions about time, time before time, and the end of time. The ontological status of the demiurge’s body, Margel argues, would become increasingly decisive in the history of philosophy, particularly in Christianity and the dogma of incarnation.

Anxiety is the obligatory gateway into writing: one’s confrontation with powerlessness and anguish when faced with the task of thinking. This is not the familiar anxiety of our most intimate fears, however violent they might be. Yet by exploring these same pathways twentieth-century thinkers such as Artaud, Blanchot, Derrida, Beckett, and Levinas set out to create new modes of thinking. All evoke the remarkable creative force residing at the heart of this negative anxiety. The anguish of thought thus denotes this experience of writing-as joyful as it is maddening-wherein I think outside Myself.

A vibrant meditation and poetic call for an African utopian philosophy of self-reinvention for the twenty-first centuryIn the recent aftermath of colonialism, civil wars, and the AIDS crisis, a new day finally seems to be shining on the African continent. Africa has once again become a site of creative potential and a vibrant center of economic growth and production. No longer stigmatized by stereotypes or encumbered by the traumas of the past-yet unsure of the future-Africa has other options than simply to follow paths already carved out by the global economy. Instead, the philosopher Felwine Sarr urges the continent to set out on its own renewal and self-discovery-an active utopia that requires a deep historical reflection on the continent’s vast mythological universe and ancient traditions, nourishes a cultural reinvention, and embraces green technologies for tackling climate change and demographic challenges.Through a reflection on contemporary African writers, artists, intellectuals, and musicians, Sarr elaborates Africa’s unique philosophies and notions of communal value and economy deeply rooted in its ancient traditions and landscape-concepts such as ubuntu, the life force in Dogon culture; the Rwandan imihigo; and the Senegalese teranga. Sarr takes the reader on a philosophical journey that is as much inward as outward, demanding an elevation of the collective consciousness.Along the way, one sees the contours of an africanity, a contemporary Africa united as a continent through the creolization of its cultural traditions. This is Felwine Sarr’s Afrotopia.

A close examination of the relationship between media, art, and the “Electra complex”The feminist counterpart to Deleuze and Guattari’s Anti-Oedipus, Anti-Electra is a philosophy of “the girl” as a model of contemporary transgressive subjectivity. Elisabeth von Samsonow asserts that focusing on the girl’s escape from the Oedipus complex leads to a fundamental shift in our most common views on media and art.Presenting an interpretation of contemporary technics, Anti-Electra argues that technology today encompasses Electra’s gadgets and toys. According to von Samsonow, satellite drive technologies such as wireless telephones, WLAN, and GPS echo the “preoedipal constellation” that the girl specializes in. And with the help of the girl, the cartography of overlapping zones between humankind and animals, as well as between humankind and apparatuses, is redesigned through what the book holds as a “radical totemism.” Anti-Electra ultimately offers a new view on gender, the contemporary world dyed by symbolic girlism, and the (universal) girl in critical dialogue with media, ecology, and society.

A harrowing early novel by one of France’s most unusual contemporary writers At once humorous and horrifying, Solo Viola is one of Antoine Volodine’s first forays into post-exoticism. He takes the reader into a fictional world where a variety of characters collide: three prisoners just released from jail, a band of circus performers, a string quartet, a writer, and a bird. All are trying to survive in an absurd and hostile environment of authoritarian spectacle, at the mercy of a tyrannical buffoon, and seeking the strange counterbalance of hope in a viola player, whose stunning music just might save them all, if only for a moment.

A groundbreaking reflection on the process by which one arrives at an ethological theoryHow do humans study the complex worlds of animals without imposing their own societal and scientific gaze upon them? The biologist Amotz Zahavi stakes the controversial claim that Arabian babblers are said to raise themselves up each day to dance and tend to one another in the early morning sun. Such a claim will provoke the interest and intellectual curiosity of a young philosopher and psychologist recognizing that the best way for her to observe the practices of scientists at work is to join them on their terrain. Embedding herself in the field alongside ethologists in the Negev desert, Vinciane Despret deftly depicts and reflects on the process by which scientists construct their theories within the milieu of the animals they study. Along the way, and not without humor, Despret analyzes a variety of theories posited by many well-known thinkers, including Zahavi, who devoted his life to the interpretation, companionship, and conservation of the Arabian babbler bird, and naturalists such as Charles Darwin and Pierre Kropotkin.

In On Doubt, VilÉm Flusser refines Martin Heidegger’s famous declaration that “language is the dwelling of Being.” For Flusser, “the word is the dwelling of being,” because in fact, in the beginning, there was the word.On Doubt is a treatise on the human intellect, its relation to language, and the reality-forming discourses that subsequently emerge. For Flusser, the faith that the modern age places in Cartesian doubt plays a role similar to the one that faith in God played in previous eras-a faith that needs to be challenged. Descartes doubts the world through his proposition cogito ergo sum, but leaves doubt itself untouched as indubitable and imperious. His cogito ergo sum may have proved to the Western intellect that thoughts exist, but it did not prove the existence of that which thinks: one can eliminate thinking and yet continue being.Therefore, should we not doubt doubt itself? Should we not try to go beyond this last step of Cartesian doubt and look for a new faith? The twentieth century has seen many attempts to defeat Cartesian doubt, however, this doubt of doubt has instead generated a complete loss of faith, which the West experiences as existential nihilism. Hence, the emergent emptying of values that results from such extreme doubt. Everything loses its meaning. Can this climate be overcome? Will the West survive the modern age?

A philosopher and former racing cyclist examines how competitive riders lose their sense of self as they pursue perfect motion and mastery over painAfter ten years as a racing cyclist, riding in up to ninety races a year, Olivier Haralambon became a journalist and philosopher. In The Cyclist and His Shadow, he writes about the world of competitive cycling with rare honesty and self-reflection, exploring it not merely as a sport but as a spiritual and artistic practice, imbued with a mystical quality. In prose at once poetic and precise, Haralambon depicts the intensity of cycling as physical activity in which the rider’s consciousness becomes inseparable from the instantaneous movements of limbs, the exertion of heart and lungs, and the marshaling and expenditure of energy. He describes riding as an ascetic activity always accompanied by pain that the cyclist can control but never fully eliminate. But cycling for Haralambon is not only suffering but also an addictively pleasurable activity in which the rider’s sense of self dissolves and melds with the bicycle, mind and body exploring the vibrant solitude of the course and limits of human endurance. Engaging in the repetition of ascension and the endless hours immersed in an oceanic interior, cyclists are artists in the vastness of landscape, both interior and exterior.Published in association with The Cycling Podcast (https://thecyclingpodcast.com), The Cyclist and His Shadow offers an illuminating meditation on what drives cyclists to devote their lives and bodies to training, racing, and even doping. Drawing from personal experience, Haralambon presents cycling as simultaneously physical and creative, technological and mystical, torturous and ecstatic.

An influential thinker’s fascinating reflections and meditations on reacclimating to his native Senegal as a young academic after years of study abroad  The call to morning prayer. A group run at daybreak along the Corniche in Dakar. A young woman shedding tears on a beach as her friends take a boat to Europe. In African Meditations, paths to enlightenment collide with tales of loss and ruminations, musical gatherings, and the everyday sights and sounds of life in West Africa as a young philosopher and creative writer seeks to establish himself as a teacher upon his return to Senegal, his homeland, after years of study abroad. A unique contemporary portrait of an influential, multicultural thinker on a spiritual quest across continents-reflecting on his multiple literary influences along with French, African Francophone, and Senegalese tribal cultural roots in a homeland with a predominantly Muslim culture-African Meditations is a seamless blend of autobiography, journal entries, and fiction; aphorisms and brief narrative sketches; humor and Zen reflections. Taking us from Saint-Louis to Dakar, Felwine Sarr encounters the rhythms of everyday life as well as its disruptions such as teachers’ strikes and power outages while traversing a semi-surrealistic landscape. As he reacclimates to his native country after a life in France, we get candid glimpses, both vibrant and hopeful, sublime and mundane, into his Zen journey to resecure a foothold in his roots and to navigate academia, even while gleaning something of the good life, of joy, amid the struggles of life in Senegal.

A radical rethinking of the theory and the experience of mental imagesHere, in English translation for the first time, is Gilbert Simondon’s fundamental reconception of the mental image and the theory of imagination and invention. Drawing on a vast range of mid-twentieth-century theoretical resources-from experimental psychology, cybernetics, and ethology to the phenomenological reflections of Sartre and Merleau-Ponty-Imagination and Invention provides a comprehensive account of the mental image and adds a vital new dimension to the theory of psychical individuation in Simondon’s earlier, highly influential work.Simondon traces the development of the mental image through four phases: first a bundle of motor anticipations, the image becomes a cognitive system that mediates the organism’s relation to its milieu, then a symbolic and abstract integration of motor and affective experience to, finally, invention, a solution to a problem of life that requires the externalization of the mental image and the creation of a technical object. An image cannot be understood from the perspective of one phase alone, he argues, but only within the trajectory of its progressive metamorphosis.

Philosophically analyzing the work of one of the twentieth century’s most popular, and peculiar, science fiction authorsDespite his enduring popularity, Philip K. Dick (1928–1982)-whose short stories and novels were adapted into or influenced many major films and television shows, including Blade Runner, Total Recall, The Truman Show, and The Man in the High Castle-has long been a marginal figure in American literature, even in the science fiction genre he helped revolutionize. Here, an influential French philosopher offers a major new perspective on an author who was known as much for his eccentricities and excesses as for his writing. For David Lapoujade, it is precisely the many ways in which Dick’s works seem to hover on the brink of losing all touch with reality that make him such a singular figure, both as a sci-fi author and as a thinker of contemporary life.    In Worlds Built to Fall Apart, Lapoujade defines sci-fi as a way of thinking through the creation of worlds and argues that Dick does so by creating worlds that fall rapidly to pieces. Whatever his mechanism to bring this about (drugs or madness, alien satellite transmissions or encroaching parallel universes), the effect is always to reveal reality to be a construction, in which certain people determine what appears as real to the rest of us. Orienting Dick within philosophy and drawing connections to a wide variety of other thinkers and artists, this remarkable reading shows how he proposes unstable, fluctuating futures in which tinkering with reality has become the best means of resisting total control.   Engaging with most of Philip K. Dick’s published works, as well as with several of his essays and his notorious psychic autobiography The Exegesis, Lapoujade hones in on the “war of the psyches” that underlies Dick’s critique of reality. He puts Dick’s work in conversation with a vast array of subjects-from cybernetics to schizoanalysis, and from Pop art to David Lynch, J. G. Ballard, and William S. Burroughs-revealing Dick’s oeuvre to comprise a profound reality defined by artifice, precarity, and control.     Retail e-book files for this title are screen-reader friendly.

A warrior struggles through an apocalyptic landscape and the world after deathKree has been raised as a fearless fighter in a ravaged world: postapocalyptic, posthuman, the population decimated by wars and civilization long since collapsed. After her attempt to avenge the death of her dog, Loka, goes horribly wrong, Kree finds herself lost in a world after death and wanders into the city of the terrible mendicants.   Under the Brothers’ totalitarian rule, Kree can lead a quiet life and forget her violent past, even if needles grow in her skull and hallucinatory blood rains occasionally pour down to remind her. She can make friends: a healer with a shaking tent, a mysterious stranger hatched from an egg, and a gruff electrician in a world without electricity. And she can have her Loka as long as she toes the Party line and does as she’s told. When she can’t-when her friends start to disappear and the Brothers turn against her-Kree sets out on a quest, searching for a new way forward.   Multiply reincarnated and unstuck in time, Kree is the characteristically marvelous creation of Manuela Draeger, whose extraordinary stories, in the words of author China MiÉville, “are as close to dreams as fiction can be.”

A postapocalyptic noir that asks if love and political ideals can survive civilizational collapseA meditative, postapocalyptic noir, Mevlido’s Dreams is an urgent communiquÉ from a far-future reality of irreversible environmental damage and civilizational collapse. Mevlido is a double agent working for the police and living in the last habitable city on the planet, a sprawling abyssal ruin marked by war and ruled by criminals. Suspended in the bardo between his loyalty to the surveillance state and to the anarchists, communists, and other rebels he monitors, Mevlido clings to life and hope-barely-in the city’s vast slums, haunted by the memory of the wife he failed to save during the last war and dreaming of a mysterious mission he is told he must accomplish. At the same time, an enigmatic organization existing elsewhere-the Organs-observes Mevlido’s actions and debates its responsibility to him and to humanity as a whole.    Asking what it means to love and care for others at the end of the world, this dense, brilliantly detailed postcollapse reality imagined by Antoine Volodine is one that grows ever more relevant amidst intensifying climate and political catastrophes. A key work in Volodine’s post-exotic fictional universe, Mevlido’s Dreams envisions a world changed beyond recognition and ruled under irrational authoritarianism in which dreams nest within dreams and the boundaries between life and death are fluid and uncertain.

A profound exploration of the external influences that shape human consciousness, from healing rituals to digital devicesIn this voyage through thousands of years of psychosomatic healing, distinguished anthropologist and sociologist Roger Bartra examines the placebo effect as a key to our understanding of human consciousness. Shamans and Robots demonstrates how biology and technology become intertwined within human culture by using the various histories of ritual and symbolic healing to speculate about future developments in artificial intelligence. Charting the extensive history of the placebo effect through medieval healing, shamanism, and early psychoanalytic practices, Bartra posits that consciousness is not simply the province of the mind but something equally shaped by external systems and objects. He finds evidence of this “exocerebrum”-the extension of our brains outside the body-in the shamanistic concept of the placebo, in which external objects heal our bodies, and in modern technical devices like prostheses or robots, whose development of a mechanical consciousness would have to mimic, and in turn elucidate, the processes involved in the creation of consciousness in humans. Through this radical concept, he analyzes digital media’s relationship to the functions of the human brain and probes the possibility of artificial consciousness. Both a look at the human body’s potential to restore itself and a profound reflection on the curative power of symbolic structures, Shamans and Robots explores how our technologies increasingly serve as extensions of our cognitive selves.

Available for the first time in English: the complete and annotated transcripts of Deleuze’s 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze’s thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon. Through paintings and writing by Rembrandt, Delacroix, Turner, CÉzanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all? Written and thought in a rhizomatic manner that is thoroughly Deleuzian-strange, powerful, and novel-On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

A beguiling, perspective-shifting story of obsession and loss set in the grimy, late-colonial decadence of Macau at the end of the twentieth century   In The Inner Harbour, Antoine Volodine focuses his literary investigations away from dystopian futures to a specific place at a particular historical moment: Macau on the eve of the Portuguese colony’s transfer to China. In a seedy flat in one of the city’s slums, a hired assassin named Kotter interrogates Breughel, a writer on the run from a mysterious organization code-named Paradise. Breughel has been hiding out in Macau with his lover, Gloria Vancouver, and a significant sum of the organization’s money. But Gloria is dead and the money spent-or so Breughel claims-and now he lives alone in humid squalor.   With increasing severity, Kotter extracts Breughel’s confessions, but are they truth or subterfuge? Or are the confessions an elaborate work of fiction by a writer aware that they are no longer able to differentiate between memory and fantasy? Volodine brilliantly blurs the levels of narration-between what Breughel tells his interrogator, what he remembers or invents, and the stories he has written, including his accounts of Gloria’s hallucinatory visions of an apocalyptic war between military forces and the “chrysalids.”   Interweaving threads of fiction and truth, lies and hallucinations, The Inner Harbour evokes many of the themes found in Volodine’s other “post-exotic” works: the slippage between dreams and reality, the nightmares of history, the exhaustion of literature and politics, and questions about what it means to be faithful to people or ideas long since vanished. But Volodine also uses the setting of Macau’s late-colonial decadence to explore new sensations of foreignness, alienation, and resignation, all of which coalesce into a nesting doll of narrative that houses an unconventional and tragic love story.     Retail e-book files for this title are screen-reader friendly.

A soldier engulfed in napalm suspends his death by composing a family saga in which he learns to live within the flamesDo not remain on the fire's edge, find your way to the heart of the fire and do not leave. . . . Death does not exist as long as you reject it. A soldier watches an airplane dropping napalm on his position. In the instant before his fiery death, he does not see his life flash before his eyes. Instead, he improvises a novel, one that screams out of him at high speed.In his story, Sam wanders a postapocalyptic landscape of broken cities and empty steppes for days, years, centuries. Through a series of blackly comic, dreamlike, bizarre scenes, he gleans lessons imparted by the weird and violent members of his family, including sorceress Aunt Yoanna, doomed Uncle Slutov, and two sharp-shooting cousins who try to persuade him to kill their mother. Sam's clan teaches him how to accept his fate and live in the world of flames with no fear for the future.The forty-ninth novel in the post-exotic series and the last to appear under the name Antoine Volodine, Living in Fire includes an interview with the writer about this book's place in his overall project, its literary and cinematic influences, and its thematic connections with other works in the sequence. A triumphant conclusion to an epic experiment, Living in Fire cuts through a world aflame using dark humor, flights of fantasy, and radical acceptance.Retail e-book files for this title are screen-reader friendly.

The network as a mode of beingIn 1968, Fernand Deligny established a "network" for informally taking care of children with autism that was more than a mere site of living; it was a milieu created out of a reflection on the mode of being autistic. What is a space perceived outside of language? What is the form of a movement without perspective or goal? How do we engage with a world that is not our own, a world turned upside down yet truly common, where acting cohabitates with our actions and the unknown with our forms of knowledge? Such is the mythical web of the "Arachnean," made of lines, holes, traces, enigmas, and questions without answers that demand to see that which cannot be seen. The Arachnean and Other Texts is a collection of Deligny's writings from the second half of the 1970s. Long before the digital age of social networks, meshworks, and digital webs, Deligny speaks to us in his own autobiographical and aphoristic manner. For him, life was always experienced in the form of "the network as a mode of being."g."