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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)
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Forget Foucault (Paperback, new edition)
Jean Baudrillard; Introduction by Sylvere Lotringer; Translated by Phil Beitchman, Nicole Dufresne, Lee Hildreth, …
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R369
R315
Discovery Miles 3 150
Save R54 (15%)
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Ships in 12 - 17 working days
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Characterizing it as a "mythic discourse," Jean Baudrillard
proceeds, in this brilliant essay, to dismantle the powerful,
seductive figure of Michel Foucault. In 1976, Jean Baudrillard sent
this essay to the French magazine Critique, where Michel Foucault
was an editor. Foucault was asked to reply, but remained silent.
Forget Foucault (1977) made Baudrillard instantly infamous in
France. It was a devastating revisitation of Foucault's recent
History of Sexuality-and of his entire oeuvre-and also an attack on
those philosophers, like Gilles Deleuze and Felix Guattari, who
believed that desire could be revolutionary. In Baudrillard's eyes,
desire and power were interchangeable, so desire had no place in
Foucault's work. There is no better introduction to Baudrillard's
polemical approach to culture than these pages, in which
Baudrillard dares Foucault to meet the challenge of his own
thought. This Semiotext(e) edition of Forget Foucault is
accompanied by a dialogue with Sylvere Lotringer, "Forget
Baudrillard," a reevaluation by Baudrillard of his lesser-known
early works as a post-Marxian thinker. Lotringer presses
Baudrillard to explain how he arrived at his infamous
extrapolationist theories from his roots in the nineteenth and
early twentieth century social and anthropological works of Karl
Marx, Marcel Mauss, and Emil Durkheim.
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