This book is concerned with developing an in-depth understanding of contemporary political and spatial analyses of cities. In the three-part development of the book's overall argument or premise, the reader is taken in Part I through a range of contemporary critical and political understandings of urban securitizing. This is followed by an historical urban landscape of emerging liberalism and neo-liberalism, in nineteenth-century Britain and twentieth-century United States, respectively. These case-study historical chapters enable the introduction of key political issues that are more critically assayed in Parts II and III. With Part II, the reader is introduced in depth to a series of spatial analyses undertaken by Michel Foucault that have been crucial for especially late-twentieth and twenty-first century urban theory and political geography. With Part III the full ramifications of a paradigmatic shift are explored at the level of rethinking territory, population and design. This book is timely and useful for readers who want to develop a stronger understanding of what the book's researchers term a new political paradigm in urban planning, one ultimately governed by global economic forces that define the end of probability.

This book's overarching premise is that discussion and critique in the discourses of architecture and urbanism have their primary focus on engagements with form, particularly in the sense of the question as to what planning and architecture signify with respect to the forms they take, and how their meanings or content (what is "contained") is considered in relation to form-as-container. While significant critical work in these disciplines has been published over the past 20 years that engages pertinently with the writings of Walter Benjamin and Michel Foucault, there has been no address to the co-incidence in the work of Benjamin and Foucault of an architectural figure that is pivotal to each of their discussions of the emergence of modernity: The arcade for Benjamin and the panoptic prison for Foucault have a parallel role. In Foucault's terms, panopticism is a "diagram of power." The parallel, for Benjamin, would be his understanding of "constellation." In more recent architectural writings, the notion of the diagram has emerged as a key motif. Yet, and in as much as it supposedly relates to aspects of the work of Foucault, along with Gilles Deleuze, this notion of "diagram" amounts, for the most part, to a thinly veiled reinstatement of geometry-as-idea. This book redresses the emphasis given to form within the cultural philosophy of modernity and-particularly with respect to architecture and urbanism-inflects on the agency of force that opens a reading of their productive capacities as technologies of power. It is relevant to students and scholars in poststructuralist critical theory, architecture, and urban studies. "This is a book about Foucault and Benjamin and it is grounded in a deep knowledge of and reflection upon their works, but it is also underpinned by an impressive erudition. There are reflections on Hegel and Heidegger (central to the author) and Derrida, along with Kierkegaard, and others. This leads to a rich and suggestive discussion ... in staging a spatial-architectural-political conversation between Foucault and Benjamin." - Anonymous Reviewer "Mark Jackson's Diagrams of Power in Benjamin and Foucault, The Recluse of Architecture juxtaposes and interrogates its two leading actors so as to draw from and through them a theory of architecture, which is inseparable from its recluse. In doing so it elaborates a series of complex connections with their various interlocutors and inspirations, Hegel, Heidegger, Derrida, the Kabbalah, Agamben, allegory, Marx, Deleuze, Klossowski, tragedy, capitalism, modernity, and so on. The list is long and impressive. This is not only done with an extremely high degree of scholarship, but is presented in a light, lucid and very compelling manner in a voice both personal and authoritative. The recluse is the figure of mimesis itself, the appearance of a withdrawal, always already a ruin. This book not only contributes a highly astute reading of its philosophical objects, but it enacts the ontology of the recluse through its own unfolding, simultaneously revealing and withholding the meaning of architecture 'as such', so that we not only understand its meaning, but feel the pulsing differential of the book's object as if it were alive within us." - Stephen Zepke, Independent Researcher, Vienna