Refusing the digital world of late capitalism In this uncompromising essay, Jonathan Crary presents the obvious but unsayable reality: our "digital age" is synonymous with the disastrous terminal stage of global capitalism and its financialisation of social existence, mass impoverishment, ecocide, and military terror. Scorched Earth surveys the wrecking of a living world by the internet complex and its devastation of communities and their capacities for mutual support. This polemic by the author of 24/7 dismantles the presumption that social media could be an instrument of radical change and contends that the networks and platforms of transnational corporations are intrinsically incompatible with a habitable earth or with the human interdependence needed to build egalitarian post-capitalist forms of life.

Virilio introduces his understanding of "picnolepsy"-the epileptic state of consciousness produced by speed. Virilio himself referred to his 1980 work The Aesthetics of Disappearance as a "juncture" in his thinking, one at which he brought his focus onto the logistics of perception-a logistics he would soon come to refer to as the "vision machine." If Speed and Politics established Virilio as the inaugural-and still consummate-theorist of "dromology" (the theory of speed and the society it defines), The Aesthetics of Disappearance introduced his understanding of "picnolepsy"-the epileptic state of consciousness produced by speed, or rather, the consciousness invented by the subject through its very absence: the gaps, glitches, and speed bumps lacing through and defining it. Speed and Politics defined the society of speed; The Aesthetics of Disappearance defines what it feels like to live in the society of speed. "I always write with images," Virilio has claimed, and this statement is nowhere better illustrated than with The Aesthetics of Disappearance. Moving from the movie theater to the freeway, and from Craig Breedlove's attainment of terrifying speed in a rocket-power car to the immobility of Howard Hughes in his dark room atop the Desert Inn, Virilio himself jump cuts from such disparate reference points as Fred Astaire, Franz Liszt, and Adolf Loos to Dostoyevsky, Paul Morand, and Aldous Huxley. In its extension of the "aesthetics of disappearance" to war, film, and politics, this book paved the way to Virilio's follow-up: the celebrated study, War and Cinema.This edition features a new introduction by Jonathan Crary, one of the leading theorists of modern visual culture. Foreign Agents seriesDistributed for Semiotext(e)

Jonathan Crary's Techniques of the Observer provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. This analysis of the historical formation of the observer is a compelling account of the prehistory of the society of the spectacle. In Techniques of the Observer Jonathan Crary provides a dramatically new perspective on the visual culture of the nineteenth century, reassessing problems of both visual modernism and social modernity. Inverting conventional approaches, Crary considers the problem of visuality not through the study of art works and images, but by analyzing the historical construction of the observer. He insists that the problems of vision are inseparable from the operation of social power and examines how, beginning in the 1820s, the observer became the site of new discourses and practices that situated vision within the body as a physiological event. Alongside the sudden appearance of physiological optics, Crary points out, theories and models of "subjective vision" were developed that gave the observer a new autonomy and productivity while simultaneously allowing new forms of control and standardization of vision. Crary examines a range of diverse work in philosophy, in the empirical sciences, and in the elements of an emerging mass visual culture. He discusses at length the significance of optical apparatuses such as the stereoscope and of precinematic devices, detailing how they were the product of new physiological knowledge. He also shows how these forms of mass culture, usually labeled as "realist," were in fact based on abstract models of vision, and he suggests that mimetic or perspectival notions of vision and representation were initially abandoned in the first half of the nineteenth century within a variety of powerful institutions and discourses, well before the modernist painting of the 1870s and 1880s.

Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception-in psychology, philosophy, neurology, early cinema, and photography. Suspensions of Perception is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters-Manet, Seurat, and Cezanne-who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception-in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.