The Global Industrial Complex: Systems of Domination is a groundbreaking collection of essays by a diverse set of leading scholars who examine the entangled and evolving global array of corporate-state structures of hegemonic power-what the editors refer to as "the power complex"-that was first analyzed by C. Wright Mills in his 1956 classic work, The Power Elite. In this new volume edited by Steven Best, Richard Kahn, Anthony J. Nocella II, and Peter McLaren, the power complex is conceived as co-constituted, interdependent and imbricated systems of domination. Spreading insidiously on a global level, the transnational institutional relationships of the power complex combine the logics of capitalist exploitation and profits and industrialist norms of efficiency, control, and mass production, While some have begun to analyze these institutional complexes as separate entities, this book is unique in analyzing them as overlapping, mutually-enforcing systems that operate globally and which will undoubtedly frame the macro-narrative of the 21st century (and perhaps beyond). The global industrial complex-a grand power complex of complexes-thus poses one of the most formidable challenges to the sustainability of planetary democracy, freedom and peace today. But there can be no serious talk of opposition to it until it is more popularly named and understood. The Global Industrial Complex aims to be a foundational contribution to this emerging educational and political project.

The Global Industrial Complex: Systems of Domination is a groundbreaking collection of essays by a diverse set of leading scholars who examine the entangled and evolving global array of corporate-state structures of hegemonic power-what the editors refer to as "the power complex"-that was first analyzed by C. Wright Mills in his 1956 classic work, The Power Elite. In this new volume edited by Steven Best, Richard Kahn, Anthony J. Nocella II, and Peter McLaren, the power complex is conceived as co-constituted, interdependent and imbricated systems of domination. Spreading insidiously on a global level, the transnational institutional relationships of the power complex combine the logics of capitalist exploitation and profits and industrialist norms of efficiency, control, and mass production, While some have begun to analyze these institutional complexes as separate entities, this book is unique in analyzing them as overlapping, mutually-enforcing systems that operate globally and which will undoubtedly frame the macro-narrative of the 21st century (and perhaps beyond). The global industrial complex-a grand power complex of complexes-thus poses one of the most formidable challenges to the sustainability of planetary democracy, freedom and peace today. But there can be no serious talk of opposition to it until it is more popularly named and understood. The Global Industrial Complex aims to be a foundational contribution to this emerging educational and political project.

Richard Rorty's neopragmatist philosophy marks him as one of the most gifted and controversial thinkers of his time. Antifoundationalism and antirepresentationalism are the guiding motifs in his thought. He wants to jettison a set of philosophical distinctions appearance/reality, mind/body, morality/prudence that have dominated and shaped the history of Western philosophy since the time of Plato. It is a position that has propelled him into a series of heated debates with philosophers who are the most influential of their generation analytic philosophers such as Quine, Davidson, Rawls, and Putnam; as well as Continental philosophers, including Habermas, Derrida, Foucault, and Lyotard. At the same time, Rorty's work has helped to break down the artificial separation between these two wings of Western philosophy by acting as an intellectual bridge between them. This distinctive collection by scholars from around the world focuses upon the cultural, educational, and political significance of his thought. The nine essays which comprise the collection examine a variety of related themes: Rorty's neopragmatism, his view of philosophy, his philosophy of education and culture, Rorty's comparison between Dewey and Foucault, his relation to postmodern theory, and, also his form of political liberalism."

It passes for an unassailable truth that the slave past provides an explanatory prism for understanding the black political present. In None Like Us Stephen Best reappraises what he calls "melancholy historicism"-a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a "we" at the point of "our" violent origin. Best argues that there is and can be no "we" following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker's prayer that "none like us may ever live again until time shall be no more." Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.

It passes for an unassailable truth that the slave past provides an explanatory prism for understanding the black political present. In None Like Us Stephen Best reappraises what he calls "melancholy historicism"-a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a "we" at the point of "our" violent origin. Best argues that there is and can be no "we" following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker's prayer that "none like us may ever live again until time shall be no more." Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.