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The French philosopher F\u00e9lix Guattari frequently visited Japan during the 1980s and organized exchanges between French and Japanese artists and intellectuals. His immersion into the \u201cmachinic eros\u201d of Japanese culture put him into contact with media theorists such as Tetsuo Kogawa and activists within the mini-FM community (Radio Home Run), documentary filmmakers (Mitsuo Sato), photographers (Keiichi Tahara), novelists (Kobo Abe), internationally recognized architects (Shin Takamatsu), and dancers (Min Tanaka). From pachinko parlors to high-rise highways, alongside corporate suits and among alt-culture comrades, Guattari put himself into the thick of Japanese becomings during a period in which the bubble economy continued to mutate. This collection of essays, interviews, and longer meditations shows a radical thinker exploring the architectural environment of Japan\u2019s \u201cmachinic eros.\u201d

Michel Serres is one of the rare contemporary philosophers to propose an open vision of the world founded on an alliance between the humanities and science.Randolph Burks is a Michel Serres scholar and translator.

Eugene Thacker is the author of several books, including In The Dust of This Planet. He teaches at the New School in New York

In Language and Reality, originally published in S\u00e3o Paulo, Brazil, in 1964, Vil\u00e9m 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.Flusser\u2019s 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 Flusser\u2019s 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.

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: durée (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, Lapoujade''s 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.

François Laruelle is professor emeritus at the University of Paris West Nanterre La Défence and the inventor of the science of philosophy, non-philosophy.

Gilbert Simondon (1924–1989)¿was a French philosopher of technology whose work continues to attract new interest within a variety of academic fields.

"Originally published in French as Survivances des lucioles, copyright 2009 by Les aEditions de Minuit . . . Paris"-- Verso title page.

Those who are mad like Antonin Artaud, are they just as mad as he was? Madness, like the plague, is contagious, and everyone, from his psychiatrists to his disciples, family, and critics, everyone who gets close to Artaud, seems to participate in his delirium. Sylv\u00e8re Lotringer explores various embodiments of this shared delirium through what Artaud called \u201cmental dramas\u201d—a series of confrontations with his witnesses or \u201cpersecutors\u201d where we uncover the raw delirium at work, even in Lotringer himself. Mad Like Artaud does not intend to add one more layer of commentary to the bitter controversies that have been surrounding the cursed poet\u2019s work since his death in 1948, nor does it take sides among the different camps who are still haggling over his corpse. This book speaks of the site where \u201cmadness\u201d itself is simmering.

As historical processes increasingly become steeped in technology, it becomes more necessary for a discipline to emerge that is capable of comprehending these materialities to better understand the fields they inundate such as science, art, and warfare. This effort is further compromised by the inherent complexity and complete arbitrariness of technical languages—especially when they are algorithmic—along with the rapid pace in which they become obsolete, unintelligible, or simply forgotten. The Turing Machine plays a central role in the Archaeology of Algorithmic Artefacts, wherein the gradual developments of the individual components encompassed by this complex technology are placed within the context of engineering sciences and the history of inventions. This genealogy also traces the origin of the computer in mathematics, meta-mathematics, combinatorics, cryptology, philosophy, and physics. The investigations reveal that the history of apparatuses that process signs is in no way limited to the second half of the twentieth century; rather, it is possible they existed at all times and in all cultures.

Throughout a large part of the 1980s, F\u00e9lix Guattari, known for his collaborations with Gilles Deleuze and his experimental and groundbreaking practices in psychotherapy, decides to shift his experimental work into a different medium of artistic and creative thought practice: the world of science fiction. Part self-analysis, part cinematic expression of his theoretical work, Guattari\u2019s screenplay merges his theoretical concepts with his passion for comic books, free radio movements, and film. So begins Guattari\u2019s journey to write a screenplay wherein a group of squatters makes contact with a superior intelligence coming from the infinitely small Universe of the Infra-quark (UIQ). Guattari worked feverishly on his film, attempting to secure a budget, traveling to Hollywood, and enlisting the help of American screenwriter Robert Kramer. But the film would never see the light of day. Through the important archival work of artists, Silvia Maglioni and Graeme Thomson, Guattari\u2019s script is now published here, for the first time in English.