Bøger udgivet af Punctum Books

Who speaks when you speak? Who writes when you write? Is it "you"-is it the "I" that you think you are? Or are we the chance inheritors of an invasive, exterior parasite-a parasite that calls itself "Being" or "Language?" If our sense of self is best defined on the basis of an exterior, parasitical force that enters us from the outside, then the "self" is no longer a centralized or agential "inside," but rather becomes reconfigured as the result of an "outside" that parasitizes the "inside"-as-host. Rough versions of this model can be found in several traditions of continental philosophy: in Lacan, Derrida, Serres, Kristeva, Foucault, Baudrillard, to name a few. However, the full implications of this ontological model have yet to be addressed: what are its consequences for a theory of subjects, objects, and the agencies that intersect with them? How does this framework alter our understandings of the human and the non-human, the vital and the material?An off-kilter point of view is required to consider this historical and philosophical situation. Language Parasites argues that the best way to conceive of the "self" or "subject" as something linguistically and ontologically constituted by an aggressive and parasitical outside is by asking the following question: "what is the being of a parasite?" In addressing this challenge, Braune combines speculative philosophy with 'Pataphysics (the absurdist science, invented by Alfred Jarry, that theorizes a physics beyond both the para and the meta, resulting in the pata). These theoretical collisions betray a variety of swerves that extend to the social (as a parasite semiotics), the cultural (as the invasive force of memes), the aesthetic (as the transition of postmodernism to postmortemism), the linguistic (as found in Saussure's paranoid researches into the paragram), the poetic (as seen in Christopher Dewdney's journey into "Parasite Maintenance" and Christian Bök's attempts to embed a poem in a bacterium), and the literary (as para-cited in Henry Miller's experience of housing a parasite named "Conrad Moricand"). The "voice" of the parasite can be found in what Saussure calls the "paragram"-the uncanny messages that lurk hidden underneath the written word. And what does the parasite say? Or, does its speech reject human ears?If the voice of the parasite mutters in the ear of the subject, then an anterior theoretical listening-a phorontology-is required, one that can negate the anthropocentric regimes of binaristic thought: the dyads of good and evil, right and wrong, male and female, inside and outside, etc. Language Parasites effectively transjects these dyads and emerges from these revealed sites and para-sites with a banquet of new philosophical concepts. Each of these concepts-such as "postmortemism," "hyperhistory," "the subject-of" or the "transject"-is selected for its intrinsic usefulness: they are scalpels and tools that can helpfully transcend anthropocentric dyads in order to unveil the continua of the non-human.The careful reader will already realize that Language Parasites is the result of a philosophical continental infection: it is the location of a meeting between the Derrida-parasite, the Serres-parasite, the Lacan-parasite, the Foucault-parasite, the Hegel-parasite, the Laruelle-parasite, and many other philosophical parasites. These parasites act as the hosts of other philosophies, each parasiting the other. Philosophy qua philosophy becomes the complex locale of a vigorous negotiation between host and parasite-a complex world that also implicates the author (lying on the postmortem slab) and the reader (requiring some form of medical or philosophical intervention). Language Parasites offers exactly this kind of medico-philosophical treatment: it is a tincture and a curative for your philosophical needs and ailments. You will feel full after reading this book.

This book proposes a new institution - the 'People's Forum' - to enable democratic governments to effectively address long-running issues like global warming and inequality. It would help citizens decide what strategic problems their government must fix, especially where this requires them to suffer some inconvenience or cost.The People's Forum is first based on a new diagnosis of government failure in democracies. The book tests its own analyses of government failure by seeing whether these might help us to explain the failures of particular democracies to address (and in some cases, to even recognize) several crucial environmental problems. The essential features of a new design for democracy are described and then compared with those of previous institutional designs that were also intended to improve the quality of democratic government. In that comparison, the People's Forum turns out to be not only the most effective design for developing and implementing competent policy, but also the easiest to establish and run. The latter advantage is crucial as there has been no success in getting previous designs into actual trial practice. It is hoped that this book may inspire a small group to raise the money to set up and run the People's Forum. Then, as citizens see it operating and engage with it, they may come to regard the new Forum as essential in helping them to deliberate long-running issues and to get their resulting initiatives implemented by government. Smith also discusses how the People's Forum must be managed and how groups with different political ideologies may react to it.An Afterword sets out the method by which this design was produced, to help those who might want to devise an institution themselves. The new concepts in environmental science that the book develops to test its diagnosis are applied in an Appendix to outline crucial options for the future of Tasmania. Similar options apply to many countries, states and provinces. As indicated above, those choices are currently beyond the capacity of democratic governments to address and in some cases, even to recognize. But the People's Forum may lift them out of that morass.

In recent years the humanities, social sciences and neuroscience have witnessed an 'affective turn, ' especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from "isolated and passionate cries" that deny what everybody knows and what nobody can deny: "every true thought is an aggression."This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed.Instead of truth as the ultimate criterion of judgment, the only principle according to which affective becomings can be selected and evaluated is the extent to which they proliferate joy. Spinoza and Marx show how the recruitment of desire traditionally takes place through the tyrants and priests who inspire sad passions in us. Similarly, the work of Deleuze and Guattari on capitalism and schizophrenia can be read as an encyclopedia of the passions that constitute the affective infrastructure of the socius of contemporary capitalism. If it takes a lot of inventiveness or imagination to be able to diagnose our present becomings, this is because becomings are always composites of joyful and sad passions. Capitalism could not exist if it did not also inspire happiness, love, courage, and perhaps even beatitude. That is why, today, we witness "the spectacle of the happily dominated" (Frédéric Lordon) of the self-entrepreneur, the managerial class, the flex worker, the citizen-consumer, the bean-roasting hipster, and the self-managed team.It is within this field of contradictory and heterogeneous passions that the authors of this volume pursue the diagnosis of our past and present becomings. Their contributions add up to a systematic taxonomy of the passions and indicate their importance for a thinking that reaches beyond itself.TABLE OF CONTENTS //IntroductionCeciel Meiborg & Sjoerd van Tuinen"Everywhere There Are Sad Passions" Gilles Deleuze and the Unhappy ConsciousnessMoritz GansenTo Have Done with the Judgment of 'Reason': Deleuze's Aesthetic OntologySamantha BankstonClosed Vessels and Signs: Jealousy as a Passion for RealityArjen KleinherenbrinkThe Drama of Ressentiment: the Philosopher versus the PriestSjoerd van TuinenThe Affective Economy: Producing and Consuming Affects in Deleuze and GuattariJason ReadDeleuze's Transformation of the Ideology-Critique Project: Noology CritiqueBenoît DilletPassion, Cinema and the Old MaterialismLouis-Georges SchwartzDeath of Deleuze, Birth of PassionDavid U.B. Liu

With this formidable reminder that "we have never been secular"...Kathleen Biddick expands the historical and theoretical horizon of our reflections on sovereignty and the biopolitical, opening anew the "medieval archives of violence." She does so unexpectedly by way of tears and treason, zombies and machines, the (current) prison and "the panopticon's two bodies," surveillance and abandonment, the tree of life and the "excarnated" Jews and Muslims of the warfare (and wafer) state. Who better than Biddick could follow with such dexterous refinement the "medieval traces" inscribed in the margins of Benjamin, Kantorowicz, Agamben, and others? Who better than her could lead us through "dead time" and retrieve "the Christian epistemology of typology" that operates still in the ossified periodizations that govern and rule us? (Gil Anidjar, author of Blood: A Critique of Christianity and Semites: Race, Religion, Literature)This collection of essays argues that the analysis and critique of biopower, as conventionally defined by Michel Foucault and then widely assumed in much contemporary theory of sovereignty, is a sovereign mode of temporalization caught up in the very time-machine it ostensibly seeks to expose and dismantle.The essays collected in Biddick's book argue that Foucault spoke too soon about the supposed "then" of the classical sovereign and the modern "now," and this became painfully apparent in his analysis of Nazism in his later lectures, "Society Must be Defended." There Foucault groped to articulate an anguishing paradox: How could it be that the Nazis, as the ultimate biopolitical sovereign machine, would insist on an archaic (premodern) mode of sovereignty in their death camps? Here is how he posed the question in that lecture: "How can the power of death, the function of death, be exercised in a political system centered upon biopower?" Foucault left this question hanging.What Foucault did not ask, and what this collection of essays poses is: how are "to make die" and "to let die" entangled by time, space, matter, and the archival traces of such interactions? Biddick contends that these modes of deathly biopower do not supersede each other as Foucault argued. Biddick claims that there is a living death in the "make die" of the so-called classical sovereign and also in the "make live" of the modern biopolitical sovereign. These living deaths are untimely. Only the refusal among contemporary theorists to read the archives of medieval Christendom's sovereignty (which constituted itself by naming various enemies, most notably Muslims and Jews) has foreclosed even mention of such entanglements. Biddick artfully decrypts the medieval traces of "make live" in "make die," and also in "let die." When these dynamic temporal modes of death inhabiting "to make die" and "to let die" are better understood, the static, ahistorical aspects of contemporary biopolitical discourse fall away. Further, this collection of essays, both individually and collectively, argues that in view of the ever intensifying global mobilization of "to make die" and to "let die," there is something ob/scene, and in need of more critical attention, in the contemporary theoretical embrace of the messianic (as in the work of Walter Benjamin, Giorgio Agamben, Roberto Esposito, and Jacques Derrida).TABLE OF CONTENTS: Preface: Diving into the Crypt: 10 Theses on the Historical Materialism of Biddick (by Eileen A. Joy) // Chap. 1: Introduction: Untimely Sovereignties // Chap. 2: Transmedieval Mattering and the Untimeliness of the Real Presence // Chap. 3: Arthur's Two Bodies and the Bare Life of the Archive // Chap. 4: Dead Neighbor Archives: Jews, Muslims, and the Enemy's Two Bodies // Chap. 5: Tears of Reign: Big Sovereigns Do Cry // Chap. 6: Undeadness and the Tree of Life: Ecological Thought of Sovereignty // Coda: Doing Dead Time for the Sovereign: Archive, Abandonment, Performance

What does it mean to unlearn? Once we have learned something, is it ever possible to unlearn that something? If something is said to have been unlearned, does that mean that it is simply forgotten or does some residual force of learning, some perverse force, also resonate in ways that might help us to rethink traditional approaches to teaching and learning? Might we say that education today is haunted by the spectre of unlearning?This book invites readers to reflect on the possibilities of knowing, reflecting, understanding, teaching and learning in ways that allow us to imagine the other side of education, the side which understands non-knowledge, ignorance, stupidity and wonder as potentially the most important learning experiences we can ever have. In a series of provocative essays by some of the world's most renowned theorists in philosophy, psychoanalysis, cultural studies, politics and education, The Pedagogics of Unlearning challenges us to think again about what we mean when we talk about learning - about what it really means to learn - and whether the kinds of learning we imagine in our classrooms and daily lives are actually synonymous with the sort of learning we envision when we think and talk about the purpose and passage of education.If you think you know what education and learning are doing, what teaching strategies do, and what learning outcomes are, then this book asks you to think again, to unlearn what you have learned, to learn to unlearn.TABLE OF CONTENTS // Éamonn Dunne, "Preface: Learning to Unlearn" - Jacques Ranciere, "Unwhat?" - Deborah Britzman, "Phantasies of the Writing Block: A Psychoanalytic Contribution to Pernicious Unlearning" - Sam Chambers, "Learning How to Be a Capitalist: From Neoliberal Pedagogy to the Mystery of Learning" - John D. Caputo, "Teaching the Event: Deconstruction: Hauntology and the Scene of Pedagogy" - Paul Bowman, "The Intimate Schoolmaster and the Ignorant Stifu: Postructuralism, Bruce Lee and the Ignorance of Everyday Radical Pedagogy" - L.O. Aranye Fradenburg and Eileen A. Joy, "Unlearning: A Duologue" - Aidan Seery, "After-word(s)"The Pedagogics of Unlearning originated at a conference held at Trinity College, University of Dublin, 6-7 September 2014.

"It can't happen here...."This has been the prevailing sentiment about the possible emergence of fascism in the United States since the rise of international fascism in the 1930s.Yet there are signs that it may already be happening, and at the highest levels of government....In their copiously researched and documented work, the Schwendingers outline the structural transformations, policies, and practices that raise the prospect of fascist governance in the 21st Century United States. They show that a homeland fascism has significant supports within the framework of American liberal democracy. This is an important analysis in a context in which concerns about fascist demagoguery and far right mobilization appear to be growing in the US and beyond.

Thoughtrave is the immediate and most detailed archive of Lady Gaga's emotional, intellectual, philosophical, and spiritual evolution, a reclaiming of her art (and humanity) from within the center of her celebrity during one of the most difficult transitions of her career: Summer 2013-Fall 2014.Lady Gaga: I don't like being used to make money. I feel sad when I am overworked and that I just become a money making machine and that my passion and my creativity take a backseat. That makes me unhappy. So, what did I do? I started to say no. Not doing that. I don't want to do that. I'm not taking that picture. Not going to that event. Not standing by that because that's not what I stand for.Thoughtrave marks perhaps the most important (and unconditional, unpublished, unencumbered) insights into the music industry, the personal battles that accompanied her transition from Stefani to Gaga. "It's one of those rare moments in life when you ask a question of someone you've admired for many years and receive the most honest of answers leading both people into a relationship that was and remains one of the most important of my life," says Baum, a professor, producer, composer, writer, editor, and activist for adjunct professors. As Baum explains to Stefani in one of the many interviews published here for the first time, Robert Craig Baum: It's uncanny for me to look back at 2008-2011 - when I was intensely meditating on the problem "Why is there any being at all?" - to find evidence of your intervention here with me...to find you, back then...before I knew you. It was almost as if I was playing the Bruce Willis character in Twelve Monkeys, overshooting my mark in time/space, aiming for this particular conversation but speaking through Ereignis (life gives) to a moment I (and many others) call "headphones on."As George Elerick writes in his Introduction to the book, "In Hand-to-Hand Battle for the Users," "The book you hold in your hands easily falls into the category of a transgression. It's as though we are breaking into somewhere we are not meant to be (like a rave) and are invited into the mind of one of today's musical geniuses. Maybe we can even equivocate the experience to that of being a member of the paparazzi. Their whole mode of employment is based on breaking social codes and entering into the lives of everyday-people-turned-rock-stars. That's what this book is, a disruptive invitation to break into the life and mind of Lady Gaga, the person, not just the persona."

Object Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with.Contributors include: Lizz Angello, Sallie Anglin, Keith M. Botelho, Patricia A. Cahill, Jeffrey Cohen, Drew Daniel, Christine Hoffmann, Neal Klomp, Julia Lupton, Vin Nardizzi, Tara Pedersen, Tripthi Pillai, Karen Raber, Pauline Reid, Emily Rendek, Lindsey Row-Heyveld, Debapriya Sarkar, Rob Wakeman, Jennifer Waldron, Luke Wilson, and Julian Yates.

The Jews is an anti-historical thriller in the form of a Talmudic tragicomedy, taking place sometime during the Second World War. Stalin and his Minister of Security Beria are worried about the political developments in Germany, where Martin Heidegger has replaced Adolf Hitler as Chancellor of the Third Reich. Suspecting that the Frankfurt School, headed by Vice-Chancellor Walter Benjamin, has masterminded this takeover, he dispatches two Jewish actors, Salomon Maimon and Natalia Goncharova, to investigate the situation in the hope of uncovering the extent of the Jewish conspiracy.Upon arrival in Berlin, Maimon and Goncharova are received by Benjamin, who introduces them to Heidegger. The latter has stopped speaking to anyone except his mother since his rise to power, and Benjamin holds long speeches on the history of theater, the law, God, the royal gods and the old goddesses. Eventually, prodded by his mother, Heidegger marries Goncharova, surrounded by a merry audience.The novel ends on a plain somewhere between Moscow and Berlin, where the final battle for Jerusalem is being waged. In front of the entrance of a camp, Maimon and Benjamin are joined by a group of old Jews arriving by train, bringing the news of Stalin's death by circumcision. They reenact scenes from the Old Testament while Jerusalem is burning. Did the world to come finally arrive?

This volume comprises a three-fold object, Book and Ocean and New York City.If this Book were Ocean, how would it feel between your fingers? Wet and slippery, just a bit warmer or colder than the air around it, since the Ocean is our planet's greatest reservoir of heat, a sloshing insulator and incubator girdling our globe. If its pages were New York City, how would they abrade your imagination? Human and teeming, endlessly humming along with that same old tune. Imagine that these three things were one thing. All together: Book and Ocean and New York City. During the long historical pause between the day the last sailing ship docked at South Street and that day in October 2012 when Hurricane Sandy brought the waves back in fury, New York turned its back on the sea. This Book remembers that the City was founded on Ocean, peopled by its currents, grew rich on its traffic. The storm taught what we should never have forgotten: under New York's asphalt lies not beach but Ocean.Oceanic New York salvages the City's salt-water past and present. It takes inspiration from Elizabeth Albert's gorgeous exhibition of historical artifacts and contemporary art, "Silent Beaches, Untold Stories: New York City's Forgotten Waterfront," which was on display at St. John's University in Queens in Autumn 2013. Buoyed up by art, the Book plunges into the urban and oceanic. "Circumambulate the city of a dreamy Sabbath afternoon," entices our friend Ishmael. "Nothing will content [us] but the extremest limit of the land."CONTRIBUTORS include: Elizabeth Albert, Jamie "Skye" Bianco, Jeffrey Jerome Cohen, Vanessa Daws, Lowell Duckert, Granville Ganter, Anne Harris, Jonathan Hsy, Alison Kinney, Dean Kritikos, J. Allan Mitchell, Steve Mentz, Nancy Nowacek, Julie Orlemanski, Bailey Robertson, Karl Steel, Matt Zazzarino, and Marina Zurkow.

Can Nietzsche be considered a thinker of media and mediation, as the German media theorist Friedrich Kittler declared in his influential book Gramophone, Film, Typewriter?Nietzsche was a truly transdisciplinary thinker, one who never fit into his own nineteenth-century surroundings and who recognized himself as a "herald and precursor" of the future, of our globally-reticulated digital present. Perhaps not since Kittler has there been a study - let alone an anthology - that re-assesses and re-evaluates Nietzsche's thought in light of the technically mediated and machinic conditions of the human in the age of digital networks.Drawing on the first four years of conference-proceedings from the annual Nietzsche Workshop @ Western (NWW, Western University, Ontario), which culminated in the "New York NWW.IV" Cyber-Nietzsche: Tunnels, Tightropes, Net-&-Meshworks (held at the Center for Transformative Media, Parsons The New School for Design), The Digital Dionysus explores Nietzschean themes in light of the problems and questions of digitization, information and technical mediation, offering its readers the opportunity to consider Nietzsche's contemporary relevance in light of emerging theories in new media studies, political studies, critical aesthetics, the digital humanities and contemporary post-continental philosophy.Co-edited by Dan Mellamphy and Nandita Biswas Mellamphy (Western University, UWO) for the CTM Documents Initiative imprint (Center for Transformative Media, Parsons School of Design, The New School), the volume features essays and works by leading and emerging philosophers, artists, [h]activists, and political media theorists, including Babette Babich, R. Scott Bakker, Shannon Bell, Nandita Biswas Mellamphy, Jen Boyle, Sarah Choukah, Manabrata Guha, Horst Hutter, Arthur Kroker, Nicola Masciandaro, Dan Mellamphy, Joseph Nechvatal, Julian Reid, Gary Shapiro, Heike Schotten, Eugene Thacker and Dylan Wittkower.

This small book showcases the program of the 2nd Biennial Meeting of the BABEL Working Group, hosted by Northeastern University in Boston, Massachusetts from 20-22 September 2012, and co-hosted by Boston College, College of Charleston, George Washington University's Medieval and Early Modern Studies Institute, Harvard University, M.I.T., Palgrave Macmillan, punctum books, Southern Illinois University Edwardsville, and Tufts University.Featured Speakers: Jane Bennett, Jeffrey Jerome Cohen, Carolyn Dinshaw, Lindy Elkins-Tanton, David Kaiser, Marget Long, and Sans façon [Charles Blanc and Tristan Surtees].Sessions: The Inter-Discipline of Pedagogy; Getting Medieval on Medieval Studies; Medieval Touchscreen; Families Old and New; Going Postal: Networks, Affect, and Retro-Technologies; Digging in the Ruins: Medievalism and the Uncanny in the University [I & II]; Future-Philology; Intellectual Crimes: Theft, Punking, and Roguish Behavior; Impure Collaborations; Enjoying the End (Again); Textual Fault-Lines; All In a Jurnal's Work: A BABEL Wayzgoose; Ecomaterialism; The Urmadic University; Synaesthetics: Sensory Integration Against the Disciplines; Hoarders/Hordes; Parts, Wholes, and the New; Will It Blend? Equipping the Humanities Lab; What Is Critical Thinking?; #Occupy Boston: Humanities and Praxis; Se7en Undeadly ScIeNceS: The Trivium and Quadrivium in the Multiforking University; Wild Fermentation: Disciplined Knowledge and Drink; The Historiographic Ghost.The university and the disciplines traversing it (and the disciplines traversed by the university as super-structure) are phenomena with medieval roots and uncertain futures. Medieval university studies were ostensibly contained by the trivium (grammar, logic, and rhetoric) and quadrivium (arithmetic, geometry, music, and astronomy), but the meanings of, and divisions between, these subjects were under constant interrogation and revision, even as older, newer, and alternate designations (dialectic, philosophy, theology, natural science, forensic, polemic, etc.) continually remade, and eventually unmade, the traditional taxonomies. "cruising in the ruins" seeks to engage both the architectonics and mobility of knowledge; the cleavages between ways of knowing; the impurities of cross-contamination between disciplines and fields and temporalities; the threat/promise of post/humanism and the post/humanities; the shape(s) of disciplinary crisis today; the aesthetics of scholarship; discipline & pleasure (and pain); the secession or amputation or orphaning of the humanities; how to foment disciplinary glamour; what the Situationists can tell us about pedagogy; DIY medievalist agitprop; the personifications of knowledge; intra-university affects; town and gown; the reservoirs of metaphors in other people's jargon; what the "uni-" in "university" and "universe" might mean; what the "after" in "after inter-disciplinarity" might portend; what misfit heterotopias might be possible in a new multiversity; what the "cruising" in "cruising in the ruins" might invite.We gathered medievalists, humanists of all stripes, scientists, social scientists, and artists to experiment with performing their respective methods in proximity to one another. This is a speculative practice because, despite being uncuttable or irreducible, we're falling through space and time, falling into one another, and always in the process of swerving. What we do next is uncharted. So let's not reduce disciplinary difference to one yawning crack between the humanities and the sciences. The divisions of disciplinary knowledge are legion and manifold, capillaried and filigreed. The idea is to have a conference in which disciplinary and field differences are sharpened as we converge on shared objects, subjects, terms, genres, tools, materials, concerns, methods, and approaches

It's easy to forget there's a war on when the front line is everywhere encrypted in plain sight. Gathered in this book's several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or 'endarkenment.' In his Vietnam War memoir, Dispatches, Michael Herr imagines a 'dropped camera' receiving 'jumping and falling' images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we're given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect.As luck would have it, Photography in the Middle begins with some nasty accidents, and extracts from the wreckage a few lessons learned. Dusting itself off, it ships out and puts up with a bunch of battle scarred, big gun photojournalists in the Holiday Inn of a typical world city. Later, it immerses itself within the leaked files of an enigmatic police cabal which detail the surveillance of conceptual photographers Bernd and Hilla Becher, an operation that even extends to the duo's dreams. Further back in time, in 1897, we are invited to an inflammatory, yet patchily documented public lecture given by the Titan, Muybridge.More than any other, it is William Burroughs, conceived here as a war photographer, who is our tutelary figure, hovering over all these pages in his attempt to map emergent vectors of mediation, ever more intimate forms of control and accelerants of planetary catastrophe. Burroughs believed that it was necessary to both keep pace with and formulate new vectors, vectors that might act as intersections with a nonhuman outside. Photography has an agency of its own, one that scrambles the patterns and refrains of mediation upon which human life is based, glitching the human and provoking relations with external coordinates. With Burroughs, and other inspirations such as J.G. Ballard, Georges Bataille, Tom McCarthy and Eugene Thacker, our notion of the dispatch does not offer positive knowledge of something that we can reconcile with existing rational explanations, but rather the revelation of a nightside, our redundancy in a photography that suspends all operations in a general blindness.

Heathen Earth: Trumpism and Political Ecology looks beyond the rising fortunes of authoritarian nationalism in a fossil-fueled late capitalist world to encounter its conditions. Trumpism represents an alternative to the forces undermining the very cosmology of the modern West from two opposing directions. The global economy, pinnacle of modernization, has brought along a dark side of massive inequality, corrupt institutions, colonial violence, and environmental destruction, while global warming, nadir of modernity, threatens to undo the foundations of all states and all markets. To the vertigo of placelessness symptomatic of globalization is added the ecological vertigo of landlessness. With reality slowly fragmenting, it is only too obvious in this light that Trumpism and other nationalist movements would attract massive hordes of supporters. Promising to expel foreigners and to restore unity and equality by taking power back from the global elites, while utterly denying the climate science that calls ordinary means of subsistence and consumption radically into question, Trumpism can be seen as an antidote to the toxic combination of global markets and global warming. The irony, of course, is that Trumpism only responds to these dangers by doubling down on the reckless expansionist logic that gave rise to them in the first place.This book, composed entirely between November 8, 2016 and January 20, 2017, examines Trumpism according to its regime of political representation (despotism), its political ontology (nativism), and its political ecology (geocide), while laying the groundwork for an alternative politics and a resistant, responsive ecology of the incompossible.

The Old Nubian Texts from Attiri is the first publication in the Dotawo: Monographs series. It presents heretofore unpublished material, an edition of a series of manuscripts discovered in the frame of the Aswan High Dam campaign at the site of Attiri, a rocky island in the Batn el-Hajjar region in the Sudan, and does so in an innovative way, through an intense collaboration of the editors under the name of the Attiri Collaborative. By bringing together their diverse backgrounds in linguistics, archeology, Bible studies, history, anthropology, and philology, the editors hope to have provided an example of a new model of collective manuscript editing and the results such collaboration can attain.The collection consists of 15 manuscript fragments that were all written in Old Nubian. Among these manuscripts special mention should be made of two parchment leaves from a codex dedicated to works on the Archangel Michael, a lectionary containing fragments from the Gospel of Matthew and the Second Letter to the Corinthians, as well as a rare letter written on a leather sheet.TABLE OF CONTENTS Preface - ixList of Tables - xiList of Figures - xGeneral Introduction - 13P. Attiri 1-2: The Attiri Book of Michael - 31P. Attiri 3-4: Lectionary - 59P. Attiri 5: Unidentified fragment - 75P. Attiri 6: Fragment - 79P. Attiri 7: Fragments - 81P. Attiri 6: The Head - 83P. Attiri 6: Sale - 85P. Attiri 6: Unidentified document - 89P. Attiri 6: Letter - 93Bibliography - 97

Radical Criminology, edited by Jeff Shantz [Kwantlen Polytechnic University, Vancouver, British Columbia], is dedicated to bridging the gap between the academy and the global activist community, especially with regard to state violence, state-corporate crime, the growth of surveillance regimes, and the prison-industrial complex. More pointedly, the journal aims to be not simply a project of critique, but is also geared toward a praxis of struggle, insurgence, and practical resistance. Issue 6 (Autumn 2016) is a special issue on "Insurgent Criminology in a Period of Open Social War" edited by Jeff Shantz. The struggles of the present period are stripping the cover off of policing as military institutions for social war waged against the working class-especially the racialized and poorest sectors-in defense of statist management, capitalist ownership, and wealth accumulation. The police are increasingly revealed as agents of pacification and regulation (as they have always been) rather than of public safety or security. Yet, there is an insurgent criminology-lively, engaged, informed, vital, analytical, honest, brave-emerging not in the halls of the academy nor in the sessions of academic conferences but rather in the streets and neighborhoods of those who are targeted by the state for ongoing punishment, repression, and violence. That insurgency is bringing with it important critiques of criminal justice as well as the beginnings of compelling challenges and alternatives, moving through and beyond reformist demands. One of the most important and promising developments has been the posing and pondering of alternatives to policing and the raising of abolitionist perspectives, responses, and projects. These are the voices academic criminology must hear and must heed. And the movements they must support as active allies, even more as accomplices and public defenders.FEATURES: A Radical Grounding for Social Disorganization Theory: A Political Economic Investigation of the Causes of Poverty, Inequality and Crime in Urban Areas [Michael Lynch & Lyndsay N. Boggess]Coercive Occupations as State Facilitation: Understanding the U.S. State's Strategy of Control [Vince Montes]Squatting in Racialized Berlin 1975-2015: Vietnamese Transnational Subjectivity in a Climactic Double Division [Trangdai Glassey-Tranguyen]Social Control and Security in Times of Crisis: The Criminalization of the Seropositive Women in Greece [Maria Gkresta and Manuel Mireanu]Making Sense of Repression in Police Studies: Whither Theorizing in the Descent Toward Fascism [Tamari Kitossa]ARTWORKS: Selected Images and Commentary from ArtACT QC"All Eyes are Upon Us" (Poem) [Gene Grabiner]BOOK REVIEWS: "Crashing the Party: Legacies and Lessons from the RNC 2000" by Kris Hermes [Reviewed by Irina Ceric]"Who Killed the Berkeley School? Struggles over Radical Criminology" by Herman & Julia Schwendinger [Reviewed by Aaron Philip]

More&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow's work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (A Guide to the Harmonized System), is an experimental "brick" of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow.

¿Dónde se encuentra el análisis cinematográfico hoy? ¿Qué está haciendo, en la oscuridad, la teoría del cine? Este campo, tal y como ha sido definido profesionalmente (por lo menos en el mundo académico anglo-americano), está dividido actualmente entre los historiadores interesados en el contexto social que examinan las grandes formaciones de la modernidad, y los expertos en el estilo que reclaman la vuelta de cosas pasadas de moda como la visión autoral, el tono, y la puesta en escena. Pero hay también otras corrientes, vitales e inventivas, de las que apenas estamos oyendo nada en ninguno de los canales oficiales. Último día cada día, que para esta edición ha sido extendido con el ensayo "Avatares del encuentro", hace brillar una luz sobre una de estas nuevas y excitantes vías.

Kill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera's and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program.The volume concludes with an Afterword by Richard Falk.