In Lautreamont and Sade, originally published in 1949, Maurice Blanchot forcefully distinguishes his critical project from the major intellectual currents of his day, surrealism and existentialism. Today, Lautreamont and Sade, these unique figures in the histories of literature and thought, are as crucially relevant to theorists of language, reason, and cruelty as they were in post-war Paris.
"Sade's Reason," in part a review of Pierre Klossowski's Sade, My Neighbor, was first published in Les Temps modernes. Blanchot offers Sade's reason, a corrosive rational unreasoning, apathetic before the cruelty of the passions, as a response to Sartre's Hegelian politics of commitment.
"The Experience of Lautreamont," Blanchot's longest sustained essay, pursues the dark logic of Maldoror through the circular gravitation of its themes, the grinding of its images, its repetitive and transformative use of language, and the obsessive metamorphosis of its motifs. Blanchot's Lautreamont emerges through this search for experience in the relentless unfolding of language. This treatment of the experience of Lautreamont unmistakably alludes to Georges Bataille's "inner experience."
Republishing the work in 1963, Blanchot prefaced it with an essay distinguishing his critical practice from that of Heidegger.

A radically interdisciplinary inquiry into the origins of human consciousness, community, and potential. The Cradle of Humanity: Prehistoric Art and Culture collects essays and lectures by Georges Bataille spanning 30 years of research in anthropology, comparative religion, aesthetics, and philosophy. These were neither idle nor idyllic years; the discovery of Lascaux in 1940 coincides with the bloodiest war in history-with new machines of death, Auschwitz, and Hiroshima. Bataille's reflections on the possible origins of humanity coincide with the intensified threat of its possible extinction. For Bataille, prehistory is universal history; it is the history of a human community prior to its fall into separation, into nations and races. The art of prehistory offers the earliest traces of nascent yet fully human consciousness-of consciousness not yet fully separated from natural flora and fauna, or from the energetic forces of the universe. A play of identities, the art of prehistory is the art of a consciousness struggling against itself, of a human spirit struggling against brute animal physicality. Prehistory is the cradle of humanity, the birth of tragedy. Bataille reaches beyond disciplinary specializations to imagine a moment when thought was universal. Bataille's work provides a model for interdisciplinary inquiry in our own day, a universal imagination and thought for our own potential community. The Cradle of Humanity: Prehistoric Art and Culture speaks to philosophers and historians of thought, to anthropologists interested in the history of their discipline and in new methodologies, to theologians and religious comparatists interested in the origins and nature of man's encounter with the sacred, and to art historians and aestheticians grappling with the place of prehistory in the canons of art.

Originally published in 1943, "Inner Experience" is the single most significant work by one of the twentieth century s most influential writers. It outlines a mystical theology and experience of the sacred founded on the absence of god. Bataille calls "Inner Experience" a narrative of despair, but also describes it as a book wherein profundity and passion go tenderly hand in hand. Herein, he says, The mind moves in a strange world where anguish and ecstasy take shape.
Bataille s search for experience begins where religion, philosophy, science, and literature leave off, where doctrines, dogmas, methods, and the arts collapse. His method of meditation, outlined and documented here, commingles horror and delight. Laughter, intoxication, eroticism, poetry, and sacrifice are pursued not as ends in and of themselves but as means of access to a sovereign realm of inner experience.
This new translation is the first to include "Method of Meditation" and "Post-scriptum 1953," the supplementary texts Bataille added to create the first volume of his "Summa Atheologica." This edition also offers the full notes and annotations from the French edition of Bataille s "Oeuvres Completes," along with an incisive introductory essay by Stuart Kendall that situates the work historically, biographically, and philosophically."

Baudrillard's remarkably prescient meditation on terrorism throws light on post-9/11 delusional fears and political simulations. Published one year after Forget Foucault, In the Shadow of the Silent Majorities (1978) may be the most important sociopolitical manifesto of the twentieth century: it calls for nothing less than the end of both sociology and politics. Disenfranchised revolutionaries (the Red Brigades, the Baader-Meinhof Gang) hoped to reach the masses directly through spectacular actions, but their message merely played into the hands of the media and the state. In a media society meaning has no meaning anymore; communication merely communicates itself. Jean Baudrillard uses this last outburst of ideological terrorism in Europe to showcase the end of the "Social." Once invoked by Marx as the motor of history, the masses no longer have sociological reality. In the electronic media society, all the masses can do-and all they will do-is enjoy the spectacle. In the Shadow of the Silent Majorities takes to its ultimate conclusion the "end of ideologies" experienced in Europe after the Soviet invasion of Hungary and the death of revolutionary illusions after May 1968. Ideological terrorism doesn't represent anything anymore, writes Baudrillard, not even itself. It is just the last hysterical reaction to discredited political illusions.

Yesterday, the police interrogated me at length about the journal and the Situationist organization. It was only a beginning. This is, I think, one of the principle threats that came up quickly during the discussion: the police want to regard the SI as an association in order to set about its dissolution in France. I protested, emphasizing that the artistic movement was never legally constituted by moral individuals in a declared association. Not being constituted, the SI cannot be officially dissolved, but they tried to intimidate us heavily. It seems they take us for gangsters! --from "Correspondence" This volume traces the dynamic first years of the Situationist International movement--a cultural avant-garde that continues to inspire new generations of artists, theorists, and writers more than half a century later. Debord's letters--published here for the first time in English--provide a fascinating insider's view of just how this seemingly disorganized group drifting around a newly consumerized Paris became one of the most defining cultural movements of the twentieth century. Circumstances, personalities, and ambitions all come into play as the group develops its strategy of anarchic, conceptual, but highly political "intervention." Brilliantly conceived, this collection of letters offers the best available introduction to the Situationist International movement by detailing, through original documents, how the group formed and defined its cultural mission: to bring about, "by any means possible, even artistic," a complete transformation of personal life within the Society of the Spectacle.

Composed over 2,500 years, lost in the deserts of Iraq for 2,000 more, Gilgamesh presents a palimpsest of ancient Middle Eastern cultic and courtly lyrics and lore. The story of a visionary journey beyond the limits of human experience, Gilgamesh is a tale of friendship, adventure, mortality, and loss. The legends it collects ultimately informed Greek and Egyptian myths, Hebrew Scriptures, and Islamic literature. Scholarly translations of Gilgamesh often dilute the expressive force of the material through overzealous erudition. Popular versions of the poem frequently gloss over gaps in the text with accessible and comforting, but ultimately falsely ecumenical language. In this new version, Stuart Kendall animates the latest scholarship with a contemporary poetic sensibility, inspired by the pagan worldview of the ancient work. Transcriptions of all of the available tablets and tales have been harnessed to present a fluid and holistic Gilgamesh, true to the archaic mind. This Gilgamesh is a poem of environmental encounter and, ultimately, ecological disaster. It is a contemporary poem rooted in the origins of our civilization, a record of the first break of light at the dawn of our consciousness.

"As Gilgamesh enters the domain of the classical as it has for several decades now each new generation looks for a way to bring it from its ur-world into the living present. Toward this end Stuart Kendall s is the exemplary version for our time, a reading that allows the mind to see what had been too long lost to us and what we so much need to make us fully human. This is the place to go for further sustenance. Jerome Rothenberg

The design arts are to our age of experience what the fine arts were to the era of representation but with crucial differences. Whereas the fine arts offered critical-reflective experiences to independent subjects within the era of representation, the design fields now produce experience-events in a post-subjective world. An experience-event is a configuration of social energy across various platforms and media: images and texts, clothes, architectures, spaces, the dynamic whole of everyday life. To begin to ask questions about the creation of events in everyday life we need to find a new way to talk about design culture.The Ends of Art and Design proposes a new way to think about the relationship between design and culture as well as new roles for design education within the Humanities and for the Humanities within design education. If the design fields are the primary agents of contemporary culture, they should be the primary focus of contemporary cultural studies.The Ends of Art and Design is not a polemic on behalf of the design disciplines, whether creative or critical: it is a polemic on behalf of the way we live today.

Guilty is a searing personal record of spiritual and communal crisis, wherein the death of god announces the beginning of friendship. It takes the form of a diary, recording the earliest days of World War Two and the Nazi occupation of France, but this is no ordinary day book: it records the author s journey through a war-torn world without transcendence. Bataille s spiritual journey is also an intellectual one, a trip with Hegel, Kierkegaard, Blake, Baudelaire, and Nietzsche as his companions. And it is a school of the flesh wherein eroticism and mysticism are fused in a passionate search for pure immanence. Georges Bataille said of his work: I teach the art of turning horror into delight. This new translation of Guilty is the first to include the full text from Bataille s Oeuvres Completes. The text includes Bataille s notes and drafts, which permit the reader to trace the development of the book from diary to draft to published text, as well as annotations of Bataille s source materials. An extensive and incisive introductory essay by Stuart Kendall situates the work historically, biographically, and philosophically. Guilty is Bataille s most demanding, intricate, and multi-layered work, but it is also his most personal and moving one.

Terrence Malick's four feature films have been celebrated by critics and adored as instant classics among film aficionados, but the body of critical literature devoted to them has remained surprisingly small in comparison to Malick's stature in the world of contemporary film. Each of the essays in Terrence Malick: Film and Philosophy is grounded in film studies, philosophical inquiry, and the emerging field of scholarship that combines the two disciplines. Malick's films are also open to other angles, notably phenomenological, deconstructive, and Deleuzian approaches to film, all of which are evidenced in this collection. Terrence Malick: Film and Philosophy engages with Malick's body of work in distinct and independently significant ways: by looking at the tradition within which Malick works, the creative orientation of the filmmaker, and by discussing the ways in which criticism can illuminate these remarkable films.

Terrence Malick's four feature films have been celebrated by critics and adored as instant classics among film aficionados, but the body of critical literature devoted to them has remained surprisingly small in comparison to Malick's stature in the world of contemporary film. Each of the essays in Terrence Malick: Film and Philosophy is grounded in film studies, philosophical inquiry, and the emerging field of scholarship that combines the two disciplines. Malick's films are also open to other angles, notably phenomenological, deconstructive, and Deleuzian approaches to film, all of which are evidenced in this collection. Terrence Malick: Film and Philosophy engages with Malick's body of work in distinct and independently significant ways: by looking at the tradition within which Malick works, the creative orientation of the filmmaker, and by discussing the ways in which criticism can illuminate these remarkable films. >

Guilty is a searing personal record of spiritual and communal crisis, wherein the death of god announces the beginning of friendship. It takes the form of a diary, recording the earliest days of World War Two and the Nazi occupation of France, but this is no ordinary day book: it records the author s journey through a war-torn world without transcendence. Bataille s spiritual journey is also an intellectual one, a trip with Hegel, Kierkegaard, Blake, Baudelaire, and Nietzsche as his companions. And it is a school of the flesh wherein eroticism and mysticism are fused in a passionate search for pure immanence. Georges Bataille said of his work: I teach the art of turning horror into delight. This new translation of Guilty is the first to include the full text from Bataille s Oeuvres Completes. The text includes Bataille s notes and drafts, which permit the reader to trace the development of the book from diary to draft to published text, as well as annotations of Bataille s source materials. An extensive and incisive introductory essay by Stuart Kendall situates the work historically, biographically, and philosophically. Guilty is Bataille s most demanding, intricate, and multi-layered work, but it is also his most personal and moving one.