Preliminary Materials For A Theory Of The Young Girl
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"Concepts made for war do not call for unanimity. And it is only natural that they should be condemned for the ignominious realities they reveal. As for those who have shut their eyes to the sheer and massive fact of the Young-Girl, what difference could a little more blindness make? The Young-Girl is herself the product of misogyny, but the theory of the Young-Girl is not. Open up any women's magazine and you'll see for yourself. The Young-Girl is not always young and, increasingly not even a girl. She is but the figure of total integration into a disintegrating social whole. When morons, against all the evidence to the contrary, protest that "The world is not a commodity!" and, for that matter, neither are they, they are feigning a virginity that only proves their impotence. We want nothing to do with this virginity nor this impotence. We propose a different sentimental education."--P.  of cover.
Here, for the first time, Christopher Kul-Want brings together twenty-five texts on art written by twenty philosophers. Covering the Enlightenment to postmodernism, these essays draw on Continental philosophy and aesthetics, the Marxist intellectual tradition, and psychoanalytic theory, and each is accompanied by an overview and interpretation. The volume features Martin Heidegger on Van Gogh's shoes and the meaning of the Greek temple; Georges Bataille on Salvador Dalí's The Lugubrious Game; Theodor W. Adorno on capitalism and collage; Walter Benjamin and Roland Barthes on the uncanny nature of photography; Sigmund Freud on Leonardo Da Vinci and his interpreters; Jacques Lacan and Julia Kristeva on the paintings of Holbein; Freud's postmodern critic, Gilles Deleuze on the visceral paintings of Francis Bacon; and Giorgio Agamben on the twin traditions of the Duchampian ready-made and Pop Art. Kul-Want elucidates these texts with essays on aesthetics, from Hegel and Nietzsche to Badiou and Rancière, demonstrating how philosophy adopted a new orientation toward aesthetic experience and subjectivity in the wake of Kant's powerful legacy.
Activists explore the possibility that a new practice of communism may emerge from the end of society as we know it. Society no longer exists, at least in the sense of a differentiated whole. There is only a tangle of norms and mechanisms through which THEY hold together the scattered tatters of the global biopolitical fabric, through which THEY prevent its violent disintegration. Empire is the administrator of this desolation, the supreme manager of a process of listless implosion.--from Introduction to Civil War Society is not in crisis, society is at an end. The things we used to take for granted have all been vaporized. Politics was one of these things, a Greek invention that condenses around an equation: to hold a position means to take sides, and to take sides means to unleash civil war. Civil war, position, sides--these were all one word in the Greek: stasis. If the history of the modern state in all its forms--absolute, liberal, welfare--has been the continuous attempt to ward off this stasis, the great novelty of contemporary imperial power is its embrace of civil war as a technique of governance and disorder as a means of maintaining control. Where the modern state was founded on the institution of the law and its constellation of divisions, exclusions, and repressions, imperial power has replaced them with a network of norms and apparatuses that conspire in the production of the biopolitical citizens of Empire. In their first book available in English, Tiqqun explores the possibility of a new practice of communism, finding a foundation for an ontology of the common in the politics of friendship and the free play of forms-of-life. They see the ruins of society as the ideal setting for the construction of the community to come. In other words: the situation is excellent. Now is not the time to lose courage.
"This astonishing young poet-still in her twenties-is surely destined to be one of the crucial voices of her generation."-Michael Silverblatt, Bookworm Composed in the direct, accessible, consciousness-piercing style readers of Ariana Reines' first two books are wildly enamored of, Mercury comprises a group of long poems. These interlocking works speak to the substance and essence of what is said, transmitted, transacted, "communicated" between persons. Reines proposes that substanceand essence are opposites, and explores this in contexts including commercial cinema and internet porn. Your music makes me feel lonelyYour music makes me feel lonelyYour musicMakes me feel lonelyPicking a lemonLate at nightMy heart tightensI fear natureYour music makes me feel lonelyI must be responsible for itI'm aliveI have this hair helmet onI'm so aliveI say yes to the megaplexYou say it's awful isn't it awfulI say yeahSo what. Something sentimentalThis placeI agreeHugeWe're gonna go into the movie. . .The day is long enoughThe day is long enoughThe day is so long enoughTo contain all this and more
An early text from Tiqqun that views cybernetics as a fable of late capitalism, and offers tools for the resistance. The cybernetician's mission is to combat the general entropy that threatens living beings, machines, societies—that is, to create the experimental conditions for a continuous revitalization, to constantly restore the integrity of the whole. —from The Cybernetic Hypothesis This early Tiqqun text has lost none of its pertinence. The Cybernetic Hypothesis presents a genealogy of our “technical” present that doesn't point out the political and ethical dilemmas embedded in it as if they were puzzles to be solved, but rather unmasks an enemy force to be engaged and defeated. Cybernetics in this context is the teknê of threat reduction, which unfortunately has required the reduction of a disturbing humanity to packets of manageable information. Not so easily done. Not smooth. A matter of civil war, in fact. According to the authors, cybernetics is the latest master fable, welcomed at a certain crisis juncture in late capitalism. And now the interesting question is: Has the guest in the house become the master of the house? The “cybernetic hypothesis” is strategic. Readers of this little book are not likely to be naive. They may be already looking, at least in their heads, for a weapon, for a counter-strategy. Tiqqun here imagines an unbearable disturbance to a System that can take only so much: only so much desertion, only so much destituent gesture, only so much guerilla attack, only so much wickedness and joy.
An exploration of gender and desire from our most exciting new public intellectual “Everyone is female, and everyone hates it.” So begins Andrea Long Chu’s genre-defying investigation into sex and lies, desperate artists and reckless politics, the smothering embrace of gender and the punishing force of desire. Drawing inspiration from a forgotten play by Valerie Solanas—the woman who wrote the SCUM Manifesto and shot Andy Warhol—Chu aims her searing wit and surgical intuition at targets ranging from performance art to psychoanalysis, incels to porn, and even feminists like herself. Each step of the way she defends the indefensible claim that femaleness is less a biological state of women and more a fatal existential condition that afflicts the entire human race—men, women, and everyone else. Or maybe she’s just projecting. A thrilling new voice who has been credited with launching the “second wave” of trans studies, Chu shows readers how to write for your life, baring herself with a morbid sense of humor and a mordant kind of hope.
Review "It is to Gerald Raunig's great credit that his essay reintroduces the concept of the machine as defined by Deleuze and Guattari; he examines it against the background of Marxist tradition, which has been articulated most innovatively in post-operaism. His work shows the possible intersections and continuities, but also points to discontinuities between these two theories which have evolved at markedly different periods." Maurizio Lazzarato About the Author Gerald Raunig is a philosopher and art theorist. He works at the Zürich University of the Arts, Zürich and the eipcp (European Institute for Progressive Cultural Policies), Vienna. He is coeditor of the multilingual Web journal Transversal and of Kulturrisse, the Austrian journal for radical democratic cultural politics. He is the author of Art and Revolution and A Thousand Machines, both published by Semiotext(e).