A systematic historical survey of Chinese thought is followed by an investigation of the historical-metaphysical questions of modern technology, asking how Chinese thought might contribute to a renewed questioning of globalized technics. Heidegger's critique of modern technology and its relation to metaphysics has been widely accepted in the East. Yet the conception that there is only one-originally Greek-type of technics has been an obstacle to any original critical thinking of technology in modern Chinese thought. Yuk Hui argues for the urgency of imagining a specifically Chinese philosophy of technology capable of responding to Heidegger's challenge, while problematizing the affirmation of technics and technologies as anthropologically universal. This investigation of the historical-metaphysical question of technology, drawing on Lyotard, Simondon, and Stiegler, and introducing a history of modern Eastern philosophical thinking largely unknown to Western readers, including philosophers such as Feng Youlan, Mou Zongsan, and Keiji Nishitani, sheds new light on the obscurity of the question of technology in China. Why was technics never thematized in Chinese thought? Why has time never been a real question for Chinese philosophy? How was the traditional concept of Qi transformed in its relation to Dao as China welcomed technological modernity and westernization? In The Question Concerning Technology in China, a systematic historical survey of the major concepts of traditional Chinese thinking is followed by a startlingly original investigation of these questions, in order to ask how Chinese thought might today contribute to a renewed, cosmotechnical questioning of globalized technics.

Rethinking Joseph Conrad's Concepts of Community uses Conrad's phrase 'strange fraternity' from The Rover as a starting point for an exploration of the concept of community in his writing, including his neglected vignettes and later stories. Drawing on the work of continental thinkers including Jacques Derrida, Jean Luc-Nancy and Hannah Arendt, Yamamoto offers original readings of Heart of Darkness, The Nigger of the 'Narcissus', The Rover and Suspense and the short stories "The Secret Sharer", "The Warrior's Soul" and "The Duel". Working at the intersection between literature and philosophy, this is a unique and interdisciplinary engagement with Conrad's work.

Winner, Grand Prize, French Voices Award for Excellence in Publication and Translation The Space Age is over? Not at all! A new planet has appeared: Earth. In the age of the Anthropocene, the Earth is a post-natural planet that can be remade at will, controlled and managed thanks to the prowess of geoengineering. This new imaginary is also accompanied by a new kind of power-geopower-that takes the entire Earth, in its social, biological and geophysical dimensions, as an object of knowledge, intervention, and governmentality. In short, our rising awareness that we have destroyed our planet has simultaneously provided us not with remorse or resolve but with a new fantasy: that the Anthropocene delivers an opportunity to remake our terrestrial environment thanks to the power of technology. Such is the position we find ourselves in, when proposals for reengineering the earth's ecosystems and geosystems are taken as the only politically feasible answer to ecological catastrophe. Yet far from being merely the fruit of geo-capitalism, this new grand narrative of geopower has also been activated by theorists of the constructivist turn-ecomodernist, postenvironmentalist, accelerationist-who have likewise called into question the great divide between nature and culture. With the collapse of this divide, a cyborg, hybrid, flexible nature has been built, an impoverished nature that does not exist without being performed by technologies that proliferate within the space of human needs and capitalist imperatives. Underneath this performative vision resides a hidden anaturalism denying all otherness to nature and the Earth, no longer by externalizing it as a thing to be dominated, but by radically internalizing it as something to be digested. Constructivist ecology thus finds itself in no position to confront the geoconstructivist project, with its claim that there is no nature and its aim to replace Earth with Earth 2.0. Against both positions, Neyrat stakes out the importance of the unconstructable Earth. Against the fusional myth of technology over nature, but without returning to the division between nature and culture, he proposes an "ecology of separation" that acknowledges the wild, subtractive capacity of nature. Against the capitalist, technocratic delusion of earth as a constructible object, but equally against an organicism marked by unacknowledged traces of racism and sexism, Neyrat shows what it means to appreciate Earth as an unsubstitutable becoming: a traject that cannot be replicated in a laboratory. Underway for billions of years, withdrawing into the most distant past and the most inaccessible future, Earth escapes the hubris of all who would remake and master it. This remarkable book, which will be of interest to those across the humanities, natural sciences, and social sciences, from theorists to shapers of policy, recasts the earth as a singular trajectory that invites humans to turn political ecology into a geopolitics.

The Technological Introject explores the futures opened up across the humanities and social sciences by the influential media theorist Friedrich Kittler. Joining the German tradition of media studies and systems theory to the Franco-American theoretical tradition marked by poststructuralism, Kittler's work has redrawn the boundaries of disciplines and of scholarly traditions. The contributors position Kittler in relation to Marshall McLuhan, Jacques Derrida, discourse analysis, film theory, and psychoanalysis. Ultimately, the book shows the continuing relevance of the often uncomfortable questions Kittler opened up about the cultural production and its technological entanglements.

Taxidermy, once the province of natural history and dedicated to the pursuit of lifelike realism, has recently resurfaced in the world of contemporary art,culture, and interior design. In Speculative Taxidermy, Giovanni Aloi offers a comprehensive mapping of the discourses and practices that have enabled the emergence of taxidermy in contemporary art. Drawing on the speculative turn in philosophy and recovering past alternative histories of art and materiality from a biopolitical perspective, Aloi theorizes speculative taxidermy: a powerful interface that unlocks new ethical and political opportunities in human-animal relationships and speaks to how animal representation conveys the urgency of climate change, capitalist exploitation, and mass extinction. A resolutely nonanthropocentric take on the materiality of one of the most controversial mediums in art, this approach relentlessly questions past and present ideas of human separation from the animal kingdom. It situates taxidermy as a powerful interface between humans and animals, rooted in a shared ontological and physical vulnerability. Carefully considering a select number of key examples including the work of Nandipha Mntambo, Maria Papadimitriou, Mark Dion, Berlinde De Bruyckere, Roni Horn, Oleg Kulik, Steve Bishop, Snaebjornsdottir/Wilson, and Cole Swanson,Speculative Taxidermy contextualizes the resilient presence of animal skin in the gallery space as a productive opportunity to rethink ethical and political stances in human-animal relationships.

What are we to make of Jacques Derrida's famous claim that "every other is every other," if the other could also be an object, a stone or an elementary particle? Derrida's philosophy is relevant not just for human ethical language and animality, but to profound developments in the physical and natural sciences, as well as ecology. Derrida After the End of Writing argues for the importance of reading Derrida's later work from a new materialist perspective. In conversation with Heidegger, Lacan, and Deleuze, and critically engaging newer philosophies of speculative realism and object-oriented ontology, Crockett claims that Derrida was never a linguistic idealist. Furthermore, something changes in his later philosophy something that cannot be simply described as a "turn." In Catherine Malabou's terms, there is a shift from a motor scheme of writing to a motor scheme of plasticity. Crockett explores some of the implications of interpreting Derrida through the new materialist lens of technicity or plasticity, attending to the significance of ethics, religion, and politics in his later work. By reading Derrida from a new materialist perspective, Crockett provides fresh readings of his ideas of sovereignty, religion, responsibility, and mourning. These new readings produce fruitful engagements with the thinkers who have followed Derrida, including Malabou, Timothy Morton, John D. Caputo, and Karen Barad. Here is a new reading of Derrida that moves beyond conventional understandings of poststructuralism and deconstruction, a reading that is responsive to and critical of some of the crucial developments shaping the humanities today.

"Unlike Freud, I do not claim that religion is just an illusion and a source of neurosis. The time has come to recognize, without being afraid of 'frightening' either the faithful or the agnostics, that the history of Christianity prepared the world for humanism."

So writes Julia Kristeva in this provocative work, which skillfully upends our entrenched ideas about religion, belief, and the thought and work of a renowned psychoanalyst and critic. With dialogue and essay, Kristeva analyzes our "incredible need to believe"--the inexorable push toward faith that, for Kristeva, lies at the heart of the psyche and the history of society. Examining the lives, theories, and convictions of Saint Teresa of Avila, Sigmund Freud, Donald Winnicott, Hannah Arendt, and other individuals, she investigates the intersection between the desire for God and the shadowy zone in which belief resides.

Kristeva suggests that human beings are formed by their need to believe, beginning with our first attempts at speech and following through to our adolescent search for identity and meaning. Kristeva then applies her insight to contemporary religious clashes and the plight of immigrant populations, especially those of Islamic origin. Even if we no longer have faith in God, Kristeva argues, we must believe in human destiny and creative possibility. Reclaiming Christianity's openness to self-questioning and the search for knowledge, Kristeva urges a "new kind of politics," one that restores the integrity of the human community.

This book offers a manifesto for a radical existentialism aiming to regenerate the place of the outside that contemporary theory underestimates. Neyrat calls this outside "atopia": not utopia, a dreamt place out of the world where everything would be perfect, but atopia, the internal outside that is at the core of every being. Atopia is neither an object that an "object-oriented ontology" would be able to formalize, nor the matter that "new materialisms" could identify. Atopia is what constitutes the existence of any object or subject, its singularity or more precisely its "eccentricity." Etymologically, to exist means "to be outside" and the book argues that every entity is outside, thrown in the world, wandering without any ontological anchor. In this regard, a radicalized existentialism does not privilege human beings (as Sartre and Heidegger did), but considers existence as a universal condition that concerns every being. It is important to offer a radical existentialism because the current denial of the outside is politically, and aesthetically, damaging. Only an atopian philosophy-a bizarre, extravagant, heretic philosophy-can care for our fear of the outside. For therapeutic element, a radical existentialism favors everything that challenges the compact immanence in which we are trapped, losing capacity to imagine political alternatives. To sustain these alternatives, the book identifies the atopia as a condition of the possibility to break immanence and analyze these breaks in human and animal subjectivity, language, politics and metaphysics.

Raoul Moati intervenes in the critical debate that divided two prominent philosophers in the mid-twentieth century. In the 1950s, the British philosopher J. L. Austin advanced a theory of speech acts, or the "performative," that Jacques Derrida and John R. Searle interpreted in fundamentally different ways. Their disagreement centered on the issue of intentionality, which Derrida understood phenomenologically and Searle read pragmatically. The controversy had profound implications for the development of contemporary philosophy, which, Moati argues, can profit greatly by returning to this classic debate. In this book, Moati systematically replays the historical encounter between Austin, Derrida, and Searle and the disruption that caused the lasting break between Anglo-American language philosophy and continental traditions of phenomenology and its deconstruction. The key issue, Moati argues, is not whether "intentionality," a concept derived from Husserl's phenomenology, can or cannot be linked to Austin's speech-acts as defined in his groundbreaking How to Do Things with Words, but rather the emphasis Searle placed on the performativity and determined pragmatic values of Austin's speech-acts, whereas Derrida insisted on the trace of writing behind every act of speech and the iterability of signs in different contexts.

The discussions about the ethical, political and human implications of the postmodernist condition have been raging for longer than most of us care to remember. They have been especially fierce within feminism. After a brief flirtation with postmodern thinking in the 1980s, mainstream feminist circles seem to have turned their back on the staple notions of poststructuralist philosophy. "Metamorphoses" takes stock of the situation and attempts to reset priorities within the poststructuralist feminist agenda.

Cross-referring in a creative way to Deleuze's and Irigaray's respective philosophies of difference, the book addresses key notions such as embodiment, immanence, sexual difference, nomadism and the materiality of the subject. "Metamorphoses" also focuses on the implications of these theories for cultural criticism and a redefinition of politics. It provides a vivid overview of contemporary culture, with special emphasis on technology, the monstrous imaginary and the recurrent obsession with 'the flesh' in the age of techno-bodies.

This highly original contribution to current debates is written for those who find changes and transformations challenging and necessary. It will be of great interest to students and scholars of philosophy, feminist theory, gender studies, sociology, social theory and cultural studies.

No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as "Where the Heart Is" (2000), "Riding in Cars with Boys" (2001), "Palindromes" (2004), "Saved " (2004), "Quincea?era" (2006), "Children of Men" (2006), "Knocked Up" (2007), "Juno" (2007), "Baby Mama" (2008), "Away We Go" (2009), "Precious" (2009), "The Back-up Plan" (2010), "Due Date" (2010), and "Twilight: Breaking Dawn" (2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.

Abed Azzam offers a fresh interpretation of Nietzsche's engagement with the work of Paul the Apostle, reorienting the relationship between the two thinkers while embedding modern philosophy within early Christian theology. Paying careful attention to Nietzsche's dialectics, Azzam situates the philosopher's thought within the history of Christianity, specifically the Pauline dialectics of law and faith, and reveals how atheism is constructed in relation to Christianity. Countering Heidegger's characterization of Nietzsche as an anti-Platonist, Azzam brings the philosopher closer to Paul through a radical rereading of his entire corpus against Christianity. This approach builds a compelling new history of the West resting on a logic of sublimation, from ancient Greece and early Judaism to the death of God. Azzam discovers in Nietzsche's philosophy a solid, tangible Pauline structure and virtual, fragile Greek content, positioning the thinker as a forerunner of the recent "return to Paul" led by Badiou, Agamben, Zizek, and Breton. By changing the focus of modern philosophical inquiry from "Nietzsche and philosophy" to "Nietzsche and Christianity," Azzam initiates a major challenge to the primacy of Plato in the history of Western philosophy and narrow certainties regarding Nietzsche's relationship to Christian thought.

A new conceptual diagram of Foucault's original vision of the biopolitical order The history around the critical reception of Michel Foucault's published writings is troubled, according to Gregg Lambert, especially in light of the controversy surrounding his late lectures on biopolitics and neoliberal governmentality. In this book, Lambert's unique approach distills Foucault's thought into its most basic components in order to more fully understand its method and its own immanent rules of construction. The Elements of Foucault presents a critical study of Foucault's concept of method from the earlier History of Sexuality, Volume 1, to his later lectures. Lambert breaks down Foucault's post-1975 analysis of the idea of biopower into four elements: the method, the conceptual device (i.e., dispositif), the grid of intelligibility, and the notion of "milieu." Taken together, these elements compose the diagram of Foucault's early analysis and the emergence of the neoliberal political economy. Lambert further delves into how Foucault's works have been used and misused over time, challenging the periodization of Foucault's later thought in scholarship as well as the major and most influential readings of Foucault by other contemporary philosophers-in particular Gilles Deleuze and Giorgio Agamben. The Elements of Foucault is the first generally accessible, yet rigorous and comprehensive, discussion of lectures and major published works of Foucault's post-1975 theory of biopower and of the major innovation of the concept of dispositif. It is also the first critical work to address the important influence of French philosopher Georges Canghuilhem on Foucault's thought.

Early in their careers, Michel Foucault and Jacques Derrida argued over madness, reason, and history in an exchange that profoundly influenced continental philosophy and critical theory. In this collection, Amy Allen, Geoffrey Bennington, Lynne Huffer, Colin Koopman, Pierre Macherey, Michael Naas, and Judith Revel, among others, trace this exchange in debates over the possibilities of genealogy and deconstruction, immanent and transcendent approaches to philosophy, and the practical and theoretical role of the archive.

Gerhard Richter's groundbreaking study argues that the concept of "afterness" is a key figure in the thought and aesthetics of modernity. It pursues questions such as: What does it mean for something to "follow" something else? Does that which follows mark a clear break with what came before it, or does it in fact tacitly perpetuate its predecessor as a consequence of its inevitable indebtedness to the terms and conditions of that from which it claims to have departed? Indeed, is not the very act of breaking with, and then following upon, a way of retroactively constructing and fortifying that from which the break that set the movement of following into motion had occurred?

The book explores the concept and movement of afterness as a privileged yet uncanny category through close readings of writers such as Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno, Arendt, Lyotard, and Derrida. It shows how the vexed concepts of afterness, following, and coming after shed new light on a constellation of modern preoccupations, including personal and cultural memory, translation, photography, hope, and the historical and conceptual specificity of what has been termed "after Auschwitz." The study's various analyses--across a heterogeneous collection of modern writers and thinkers, diverse historical moments of articulation, and a range of media--conspire to illuminate Lyotard's apodictic statement that "after philosophy comes philosophy. But it has been altered by the 'after.'" As Richter's intricate study demonstrates, much hinges on our interpretation of the "after." After all, our most fundamental assumptions concerning modern aesthetic representation, conceptual discourse, community, subjectivity, and politics are at stake.

Jacques Derrida, the French philosopher, developed his critical technique known as 'deconstruction'. His work is associated with ideas surrounding both post-structuralism and post-modern philosophy, and he was known to have challenged some of the unquestioned assumptions of our philosophical tradition. In this Very Short Introduction, Simon Glendinning explores both the difficulty and significance of the work of Derrida. He presents Derrida's challenging ideas as making a significant contribution to, and providing a powerful reading of, our philosophical heritage. Defending Derrida against many of the charges that were placed against him, he attempts to show why Derrrida's work causes such extreme reactions. Glendinning explains Derrida's distinctive mode of engagement with our philosophical tradition, and shows that this is not a merely negative thing. By exploring his most famous and influential texts, Glendinning shows how and why Derrida's work of deconstruction is inspired not by a 'critical frenzy', but by a loving respect for philosophy. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Has the passing of the old God paved the way for a new kind of religious project, a more responsible way to seek, sound, and love the things we call divine? Has the suspension of dogmatic certainties and presumptions opened a space in which we can encounter religious wonder anew? Situated at the split between theism and atheism, we now have the opportunity to respond in deeper, freer ways to things we cannot fathom or prove.

Distinguished philosopher Richard Kearney calls this condition "ana-theos," or God after God-a moment of creative "not knowing" that signifies a break with former sureties and invites us to forge new meanings from the most ancient of wisdoms. Anatheism refers to an inaugural event that lies at the heart of every great religion, a wager between hospitality and hostility to the stranger, the other--the sense of something "more." By analyzing the roots of our own anatheistic moment, Kearney shows not only how a return to God is possible for those who seek it but also how a more liberating faith can be born.

Kearney begins by locating a turn toward sacred secularity in contemporary philosophy, focusing on Maurice Merleau-Ponty and Paul Ricoeur. He then marks "epiphanies" in the modernist masterpieces of James Joyce, Marcel Proust, and Virginia Woolf. Kearney concludes with a discussion of the role of theism and atheism in conflict and peace, confronting the distinction between sacramental and sacrificial belief or the God who gives life and the God who takes it away. Accepting that we can never be sure about God, he argues, is the only way to rediscover a hidden holiness in life and to reclaim an everyday divinity.

This book of tightly woven dialogues engages prominent thinkers in a discussion about the role of culture-broadly construed-in contemporary society and politics. Faced with the conceptual inflation of the notion of 'culture, ' which now imposes itself as an indispensable issue in contemporary moral and political debates, these dynamic exchanges seek to rethink culture and critique beyond the schematic models that have often predominated, such as the opposition between "mainstream multiculturalism" and the "clash of civilizations."

Prefaced by an introduction relating current cultural debates to the critical theory tradition, this book examines the politics of culture and the spirit of critique from three different vantage points. To begin, Gabriel Rockhill and Alfredo Gomez-Muller provide a stage-setting dialogue, followed by discussions with two major representatives of contemporary critical theory: Seyla Benhabib and Nancy Fraser. Working at the horizons of this tradition, Judith Butler, Immanuel Wallerstein, and Cornel West then provide important critical perspectives on cultural politics. The book's concluding section engages with Michael Sandel and Will Kymlicka, who work out of the Rawlsian tradition yet are uniquely concerned with the issue of culture, broadly understood. The epilogue, an interview with Axel Honneth, returns to the core issue of critical theory in cultural politics. Ranging from recent developments and progressive interventions in critical theory to dialogues that incorporate its insights into larger discussions of social and political philosophy, this book sharpens old critical tools while developing new strategies for rethinking the role of 'culture' in contemporary society.

Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word--"horrorism"--to capture the experience of violence.

Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence is considered from the perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the "Iliad," in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty.

In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality.

One of Jacques Derrida's richest and most provocative works, Life Death challenges and deconstructs one of the most deeply rooted dichotomies of Western thought: life and death. Here Derrida rethinks the traditional philosophical understanding of the relationship between life and death, undertaking multidisciplinary analyses of a range of topics, including philosophy, linguistics, and the life sciences. In seeking to understand the relationship between life and death, he engages in close readings of Freudian psychoanalysis, the philosophy of Nietzsche and Heidegger, French geneticist Francois Jacob, and epistemologist Georges Canguilhem. Derrida gave his "Life Death" seminar over fourteen sessions between 1975 and 1976 at the Ecole normale superieure in Paris as part of the preparation for students studying for the agregation, a notoriously competitive qualifying exam. The theme for the exam that year was "Life and Death," but Derrida made a critical modification to the title by dropping the coordinating conjunction. The resulting title of Life Death poses a philosophical question about the close relationship between life and death. Derrida argues that death must be considered neither as the opposite of life nor as the truth or fulfillment of it, but rather as that which both limits life and makes it possible. Through these captivating sessions, Derrida thus not only questions traditional understandings of the relationship between life and death, but also ultimately develops a new way of thinking about what he calls "life death."

Human Kindness and the Smell of Warm Croissants makes philosophy fun, tactile, and popular. Moral thinking is simple, Ruwen Ogien argues, and as inherent as the senses. In our daily experiences, in the situations we confront and in the scenes we witness, we develop an understanding of right and wrong as sophisticated as the moral outlook of the world's most gifted philosophers. By drawing on this knowledge to navigate life's most perplexing problems, ethics becomes second nature. Ogien explores, through experimental philosophy and other methods, the responses nineteen real-world conundrums provoke. Is a short, mediocre life better than no life at all? Is it acceptable to kill a healthy person so his organs can save five others? Would you swap a "natural" life filled with frustration, disappointment, and partial success for a world in which all of your needs are met, but through artificial and mechanical means? Ogien doesn't seek to show how difficult it is to determine right from wrong or how easy it is for humans to become monsters or react like saints. Helping us tap into the wisdom and feeling we already possess in our ethical "toolboxes," Ogien instead encourages readers to question moral presuppositions and rules; embrace an intuitive sense of dignity, virtue, and justice; and pursue a pluralist ethics suited to the principles of human kindness.

First published in 1997, Alain Badiou's "Deleuze: The Clamor of Being" cast Gilles Deleuze as a secret philosopher of the One. In this work, Clayton Crockett rehabilitates Deleuze's position within contemporary political and philosophical thought, advancing an original reading of the thinker's major works and a constructive conception of his philosophical ontology. Through close readings of Deleuze's "Difference and Repetition," "Capitalism and Schizophrenia" (with Felix Guattari), and "Cinema 2," Crockett argues that Deleuze is anything but the austere, quietistic, and aristocratic intellectual Badiou had portrayed. Instead, Crockett underscores Deleuze's radical aesthetics and innovative scientific, political, and mathematical forms of thought. He also refutes the notion Deleuze retreated from politics toward the end of his life. Using Badiou's critique as a foil, Crockett maintains the profound continuity of Deleuze's work and builds a general interpretation of his more obscure formulations.