Modes of Thought was written 20 years ago from lectures delivered by Whitehead at Wellesley, the University of Chicago, and Harvard. In it Whitehead developed the brilliant new concepts of clarity and precision of statement which have since become fundamental principles of construction underlying all of the fields of modern intellectual analysis.

In _Critique of Black Reason_ eminent critic Achille Mbembe offers a capacious genealogy of the category of Blackness—from the Atlantic slave trade to the present—to critically reevaluate history, racism, and the future of humanity. Mbembe teases out the intellectual consequences of the reality that Europe is no longer the world's center of gravity while mapping the relations among colonialism, slavery, and contemporary financial and extractive capital. Tracing the conjunction of Blackness with the biological fiction of race, he theorizes Black reason (...) as the collection of discourses and practices that equated Blackness with the nonhuman in order to uphold forms of oppression. Mbembe powerfully argues that this equation of Blackness with the nonhuman will serve as the template for all new forms of exclusion. With _Critique of Black Reason_, Mbembe offers nothing less than a map of the world as it has been constituted through colonialism and racial thinking while providing the first glimpses of a more just future. (shrink)

Rational self-interest is often seen as being at the heart of liberal economic theory. In _The Power at the End of the Economy_ Brian Massumi provides an alternative explanation, arguing that neoliberalism is grounded in complex interactions between the rational and the emotional. Offering a new theory of political economy that refuses the liberal prioritization of individual choice, Massumi emphasizes the means through which an individual’s affective tendencies resonate with those of others on infra-individual and transindividual levels. This nonconscious dimension (...) of social and political events plays out in ways that defy the traditional equation between affect and the irrational. Massumi uses the Arab Spring and the Occupy Movement as examples to show how transformative action that exceeds self-interest takes place. Drawing from David Hume, Michel Foucault, Gilles Deleuze, Niklas Luhmann and the field of nonconsciousness studies, Massumi urges a rethinking of the relationship between rational choice and affect, arguing for a reassessment of the role of sympathy in political and economic affairs. (shrink)

In the first Critique, Kant attempts to prove what we can call the "Principle of Intensive Magnitudes," according to which every possible object of experience will possess a determinate "degree" of reality. Curiously, Kant argues for this principle by inferring from a psychological premise about internal sensations (they have intensive magnitudes) to a metaphysical thesis about external objects (they also have intensive magnitudes). Most commentators dismiss the argument as a failure. In this article I give a reconstruction of Kant's argument (...) that attempts to rehabilitate the argument back into his broader transcendental theory of experience. I argue that we can make sense of the argument's central inference by appeal to Kant's theory of empirical intuition and by an analysis of the way in which Kant thinks sensory matter constitutes our most basic representations of objects. (shrink)

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection.

Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...

Provides a short introduction to Kant, emphasizing Kant's own view of his philosophy. Deleuze offers an overview of the whole of Kant's critical philosophy.

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze (...) offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, _Francis Bacon_ has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. _Francis Bacon_ is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored _Anti-Oedipus_ and _A Thousand Plateaus_ with Félix Guattari. These works, as well as _Cinema 1, Cinema 2, The Fold, Proust and Signs_, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University. (shrink)

A critical examination of the figure of Oedipus in psychoanalysis and Western culture as it relates to the history of society and capitalism.

The drone is the signature object of the contemporary moment, incarnating a quasi-theological power to see and to kill. The danger of trying to analyse the drone is that we reproduce the image of this theological or metaphysical power, embracing the discourse of techno-fetishism that surrounds it. Here I analyse this discourse primarily through a series of literary, visual, and philosophical discourses that while pre-drone predict and probe the metaphysics of drones. This metaphysics toys with the possibility of a fully-automated (...) or subject-less weapon, which integrates and deploys the human. Counter-drone discourses have tended to emphasise the human element in the “kill-chain” to disrupt this discourse of technological perfection. This is necessary, but my concern is with how notions of integration, acceleration, and “loading” suggest the drone “assemblage” is one which constantly includes the human through transforming the human into a dream of transcendence. The attempt to stress the banality of the drone as just another weapon does not counter this metaphysics, which aims to integrate the messy materiality of the human into “autonomous acceleration.” To resort to messy materiality as a counter remains within the ambit of drone metaphysics and instead, I suggest, we have to attend to the disruption and negations at work within the discourse of transformation and acceleration that surrounds and finds its destination in the drone. (shrink)