Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a ...

An examination of experimental cinema and media art from the Arabic-speaking world that explores filmmakers' creative and philosophical inventiveness in trying times.In this book, Laura Marks examines one of the world's most impressive, and affecting, bodies of independent and experimental cinema from the last twenty-five years: film and video works from the Arabic-speaking world. Some of these works' creative strategies are shared by filmmakers around the world; o...

In The Fold, Laura U. Marks offers a practical philosophy and aesthetic theory for living in an infinitely connected cosmos. Drawing on the theories of Leibniz, Glissant, Deleuze, and theoretical physicist David Bohm—who each conceive of the universe as being folded in on itself in myriad ways—Marks contends that the folds of the cosmos are entirely constituted of living beings. From humans to sandwiches to software to stars, every entity is alive and occupies its own private encl...

Edited by Richard Grusin of the Center for 21st Century Studies, this is the first book to name and characterize—and therefore consolidate—a wide array of current critical, theoretical, and philosophical approaches to the humanities and social sciences under the concept of the nonhuman turn. Each of these approaches is engaged in decentering the human in favor of a concern for the nonhuman, understood by contributors in a variety of ways—in terms of animals, affectivity, bodies, materialit...

The French philosopher Félix Guattari frequently visited Japan during the 1980s and organized exchanges between French and Japanese artists and intellectuals. His immersion into the “machinic eros” of Japanese culture put him into contact with media theorists such as Tetsuo Kogawa and activists within the mini-FM community (Radio Home Run), documentary filmmakers (Mitsuo Sato), photographers (Keiichi Tahara), novelists (Kobo Abe), internationally recognized architects (Shin Takamatsu), and...

With a new introduction by the authorIn this deliciously polemical work, a giant of cultural theory immerses himself in the ideas of a giant of French thought. In his inimical style, Zizek links Deleuze's work with both Oedipus and Hegel, figures from whom the French philosopher distanced himself. Zizek turns some Deleuzian concepts around in order to explore the 'organs without bodies' in such films as Fight Club and the works of Hitchcock. Finally, he attacks what he sees as the ...

Having set global warming in irreversible motion, we are facing the possibility of ecological catastrophe. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyperobjects”—entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a t...

What does it mean to think beyond humanism? Is it possible to craft a mode of philosophy, ethics, and interpretation that rejects the classic humanist divisions of self and other, mind and body, society and nature, human and animal, organic and technological? Can a new kind of humanities—posthumanities—respond to the redefinition of humanity’s place in the world by both the technological and the biological or “green” continuum in which the “human” is but one life form among many?

Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Möbius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are.The logistics of agricultural society resu...

Justice Koolhaas's Essays on Modern Art are reproduced alongside at least one of each artist's works that she owned. Unusually, these works were discards; even more unusually, she obtained them on condition that each artist signed a statement disowning them as artworks.Her theory work, a refusenikism written in deliberate opacity, is inspired by her collection of art refuse.Twombly is explored through Walter Benjamin, Deleuze & Guattari and Stéphane Mallarmé. The painter's in...

Why speed, flow, and direct expression now dominate cultural styleContemporary cultural style boosts transparency and instantaneity. These are values absorbed from our current economic conditions of "disintermediation": cutting out the middleman. Like Uber, but for art. Immediacy names this style to make sense of what we lose when the contradictions of twenty-first-century capitalism demand that aesthetics negate mediation. Surging realness as an aesthetic program ...

Why should we study language? How do the ways in which we communicate define our identities? And how is this all changing in the digital world? Since 1993, many have turned to Language, Culture, and Society for answers to questions like those above because of its comprehensive coverage of all critical aspects of linguistic anthropology. This seventh edition carries on the legacy while addressing some of the newer pressing and exciting challenges of the 21st century, such as issues...