circus-philosophicus

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Platonic myth meets American noir in this haunting collection of philosophical images, from gigantic Ferris wheels to offshore drilling rigs.

In this third volume of Speculations, a serial imprint created to explore post-continental philosophy and speculative realism, a wide range of topics are covered, from the philosophy of religion to psychoanalysis to the philosophy of science to gender studies, and in a wide variety of formats (articles, interviews, position pieces, translations, and review essays).

Bringing Graham Harman's philosophy into direct confrontation with contemporary architectural theory in new and creative ways, Is There an Object-Oriented Architecture? provides a dialogue between Harman and six of the world's leading architectural thinkers, Adam Sharr, Lorens Holm, Jonathan Hale, Peg Rawes, Patrick Lynch and Peter Carl. Harman's object-oriented philosophy is one that sees the universe as a carnival of equal “objects” with no hierarchy between humans and nonhumans. In his model, unicorns, triangles, bicycles, neutrons, and humans are all things with enduring essences that outlast their partial transformations. It is a strikingly democratic vision of the universe that knocks humans off their ontological pedestal as arbiters of what is real. It also radically challenges the very precepts of architectural theory, the structure of which remains stubbornly human-centric as it seeks to give form to the human being's place at the centre of the cosmos. In this new book, each thinker develops the implications of Harman's philosophy for the future of architecture by entering into a direct exchange with the philosopher and his thinking, both questioning him and questioning with him.

Heidegger and the Work of Art History explores the impact and future possibilities of Heidegger’s philosophy for art history and visual culture in the 21st century. Scholars from the fields of art history, visual and material studies, design, philosophy, aesthetics and new media pursue diverse lines of thinking that have departed from Heidegger’s work in order to foster compelling new accounts of works of art and their historicity.

In The Interface Envelope, James Ash develops a series of concepts to understand how digital interfaces work to shape the spatial and temporal perception of players. Drawing upon examples from videogame design and work from post-phenomenology, speculative realism, new materialism and media theory, Ash argues that interfaces create envelopes, or localised foldings of space time, around which bodily and perceptual capacities are organised for the explicit production of economic profit. Modifying and developing Bernard Stiegler's account of psychopower and Warren Neidich's account of neuropower, Ash argues the aim of interface designers and publishers is the production of envelope power. Envelope power refers to the ways that interfaces in games are designed to increase users perceptual and habitual capacities to sense difference. Examining a range of examples from specific videogames, Ash identities a series of logics that are key to producing envelope power and shows how these logics have intensified over the last thirty years. In turn, Ash suggests that the logics of interface envelopes in videogames are spreading to other types of interface. In doing so life becomes enveloped as the environments people inhabit becoming increasingly loaded with digital interfaces. Rather than simply negative, Ash develops a series of responses to the potential problematics of interface envelopes and envelope power and emphasizes their pharmacological nature.

Fifteen experts in the fields of mythology, Buddhism, feminism, logic, ethics, and philosophy evaluate the ways in which the British comedy troupe's films and sketches are representative of universal themes and wisdom, in a volume that cites the philosophical concepts reflected by such popular skits as the Argument Clinic and the Dead Parrot routine. Original.

Exploring how animal suffering is made meaningful within Western ramifications, the book investigates themes such as skepticism concerning non-human experience, cultural roots of compassion, and contemporary approaches to animal ethics. At its center is the pivotal question: What is the moral significance of animal suffering?

Along with Meillassoux's startling book on Mallarme's poem 'Un coup de des jamais n'abolira le hasard,' Harman discusses several new English articles by Meillassoux, including his controversial April 2012 Berlin lecture and its critique of 'subjectalism'.

Perhaps one of the clues to answering the question of why Kafka's writing continues to be so compelling to a worldwide readership and why it has drawn such an enormous international range and scope of responses is that, despite its surreal appearances, Kafka's fictional world is a familiar, universal one. He revolutionized prose writing in the sense that almost all narrative authors who came later recognized his significance and were influenced by him. This still remains true in the present. The essays here show how Franz Kafka has impressed his seal on the identity of a number of Austrian writers: especially Aichinger, Canetti, Handke, Jelinek and Turrini.

Subject: The case for realism -- The new painting in America -- Vernacular modernism -- New brutalism and the 'as found' -- New realism and pop art -- Composite painting -- Assemblages and world making -- Art and life: happenings -- Hybrid practices and political art

The latest in a renowned research-level series, focusing on Yeats' multifarious reading and his iconography. Examining the making of his work - a new unfinished play for dancers is presented - here his influence in Japan via Yone Noguchi and in England and Dorothy Wellesley are explored, together with his legacy via W.H. Auden and Seamus Heaney.

An accessible and comprehensive introduction to the structural origins of modernism, combining discussion of key theoretical issues with studies of four prominent authors: Gerard Manley Hopkins, W B Yeats, T S Eliot and Ezra Pound. The author describes the particularly modernist use of sign, symbol, metaphor, metonymy and myth and explores their internal contradictions and impasses.

A hallmark of scholarship in Great Britain, The Proceedings of the British Academy annually gathers together some of the finest lectures delivered in the previous year, sponsored by the Academy. Volume LXXI features such eminent public lectures as the Chatterton Lecture on Poetry, the Raleigh Lecture on History, the Shakespeare Lecture, and the Keynes Lecture in Economics, as well as equally prestigious papers in art, archaeology, and social anthropology. As always, the volume concludes with obituaries of renowned members of the Academy, written by fellow members; this year's obituaries include Christopher Ricks writing on William Empson, Douglas Gray on fellow medievalist Eric John Dobson, and Nicholas Kaldor on his Cambridge colleague, economist Piero Sraffa.

In 1985 the highly acclaimed "Ascendancy and tradition " posed the question: "Why did Ireland, a small country by any standard, contribute so prolifically to the modernist movement?" Extending this original theme to include additional authors, this book revises and elaborates on a number of crucial arguments which still arouse heated debate. Beginning with correspondence and pamphlets on the bourgeois origins of Protestant Ascendency, this book places its concerns in a broad European context, culminating in WWII. -- Publisher description.

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