This book provides a critical introduction to Francois Laruelle's writings on photography, with a particular focus on his two most important books on photography: The Concept of Non-Photography and Photo-Fiction, a Non-Standard Aesthetics. By unpacking and contextualising these works, this study provides a useful starting point for students and scholars who want to better understand Laruelle's larger project, which he calls "non-philosophy", or more recently, "non-standard philosophy". With clear and concise explanations of the basics of non-philosophy, Laruelle and Non-Photography demonstrates how Laruelle's thought challenges standard, philosophical approaches to photography, and culminates in a novel theory of "non-photography."

Ideology and Interpellation examines the relation between ideology, the humanist subject, interpellation, and the role of theory. Placing the work of Althusser, Rancière, Baudrillard, and Laruelle into dialogue, this book offers a useful starting point for understanding the demands and possibilities for ideological critique after the deconstruction of the subject. With chapters devoted to each French theorist’s critique, the book first examines the historical and political roots of Althusser's theory of ideology, then placing focus on Rancière's historiographic work in the following chapter. Coming hot on the heels of his blistering critique of his teacher, Althusser, in Althusser's Lesson, Rancière argues that reformers' failure to “interpellate� or recruit workers was due to their work-centric attitude and failure to understand the workers' dreams of lives devoted to unwaged aesthetic and philosophical labour. The fifth chapter shows how Baudrillard disrupts Althusser's fundamental belief that ideology can be unmasked to reveal true structures, by exposing how a society of simulation realizes the untrue by integrating it into the fabric of experience. Finally, Fardy explores how Laruelle calls into question Althusser's presumption that “standard philosophy� is sufficiently guarded against the lures of ideology. On the contrary, Laruelle suggests that this view is in fact that of the ideology of standard philosophy. Shedding light on the continuing relevance of post-Althusserian Marxist thought, Ideology and Interpellation further demonstrates the need today for a rigorous theory of ideology, traces of which can be found in Althusser's legacy.

The Real is Radical is centrally concerned with the explication and development of Francois Laruelle's theory of "non-standard Marxism." Fardy assembles a constellation of concepts designed to put Laruelle's work into dialogue with diverse theoretical perspectives, including Althusser, Tronti, Adorno, Baudrillard, Kolozova and others while demonstrating the novelty and theoretical saliency of Laruelle's work. The Real is Radical provides a much-needed introduction to non-standard Marxism and a useful starting point for the development of its theoretical potential.

Francois Laruelle emerged from the hallowed generation of French postwar philosophers that included luminaries such as Jacques Derrida, Gilles Deleuze, Luce Irigaray, and Jean Baudrillard, yet his thinking differs radically from that of his better-known contemporaries. In Laruelle and Art, Jonathan Fardy provides the first academic monograph dedicated solely to Laruelle's unique contribution to aesthetic theory and specifically the 'non-philosophical' project he terms 'non-aesthetics'. This undertaking allows Laruelle to think about art outside the boundaries of standard philosophy, an approach that Fardy explicates through a series of case studies. By analysing the art of figures such as Julia Margaret Cameron, Anish Kapoor, Dan Flavin, and James Turrell as well as the drama of Michael Frayn, Fardy's new book enables new and experienced readers of Laruelle to understand how the philosopher's thinking can open up new vistas of art and criticism.

The Real is Radical is centrally concerned with the explication and development of Francois Laruelle's theory of "non-standard Marxism." Fardy assembles a constellation of concepts designed to put Laruelle's work into dialogue with diverse theoretical perspectives, including Althusser, Tronti, Adorno, Baudrillard, Kolozova and others while demonstrating the novelty and theoretical saliency of Laruelle's work. The Real is Radical provides a much-needed introduction to non-standard Marxism and a useful starting point for the development of its theoretical potential.

Francois Laruelle emerged from the hallowed generation of French postwar philosophers that included luminaries such as Jacques Derrida, Gilles Deleuze, Luce Irigaray, and Jean Baudrillard, yet his thinking differs radically from that of his better-known contemporaries. In Laruelle and Art, Jonathan Fardy provides the first academic monograph dedicated solely to Laruelle's unique contribution to aesthetic theory and specifically the 'non-philosophical' project he terms 'non-aesthetics'. This undertaking allows Laruelle to think about art outside the boundaries of standard philosophy, an approach that Fardy explicates through a series of case studies. By analysing the art of figures such as Julia Margaret Cameron, Anish Kapoor, Dan Flavin, and James Turrell as well as the drama of Michael Frayn, Fardy's new book enables new and experienced readers of Laruelle to understand how the philosopher's thinking can open up new vistas of art and criticism.