Bøger udgivet af Univocal Publishing LLC

Forrenowned art historian Georges DidiHuberman, artist James Turrell is aninventor of impossible spaces and unthinkable sites, of aporias, of fables. Creator of some of the most fascinating works of the late twentieth and earlytwentyfirst century, Turrell uses as his medium the most elemental material ofsight and art: light.

As historical processes increasingly become steeped in technology, it becomes more necessary for a discipline to emerge that is capable of comprehending these materialities to better understand the fields they inundate such as science, art, and warfare. This effort is further compromised by the inherent complexity and complete arbitrariness of technical languages—especially when they are algorithmic—along with the rapid pace in which they become obsolete, unintelligible, or simply forgotten. The Turing Machine plays a central role in the Archaeology of Algorithmic Artefacts, wherein the gradual developments of the individual components encompassed by this complex technology are placed within the context of engineering sciences and the history of inventions. This genealogy also traces the origin of the computer in mathematics, meta-mathematics, combinatorics, cryptology, philosophy, and physics. The investigations reveal that the history of apparatuses that process signs is in no way limited to the second half of the twentieth century; rather, it is possible they existed at all times and in all cultures.

Georges Didi-Huberman is a lecturer at the Ecole des hautes etudes en sciences sociales in Paris. He has published over 20 books on art history and philosophy including Fra Angelico: Dissemblance and Figuration (1995) and Confronting Images: Questioning the Ends of A Certain History of Art (2009). He is also the recipient of the 2015 Adorno PrizeDrew S. Burk has translated works by thinkers such as François Laruelle, Gilbert Simondon, and Fernand Deligny. He lives in Minneapolis, MN.¿

Michael Marder is ikerbasque Research Professor of Philosophy at the University of the Basque Country (UPV-EHU), Vitoria-Gasteiz, Spain. His most recent works include¿Pyropolitics: When the World Is Ablaze (2015),¿Dust (2016), The Chernobyl Herbarium (2016), and, with Luce Irigaray, Through Vegetal Being: Two Philosophical Perspectives¿(2016).

In the heart of Australia, on the cracked red earth, among wild vegetation, weathered bush, and dried-up creeks, hundreds of invisible pathways exist that become entangled on the earth''s surface, underground, and in the sky, clouds, and wind. The Aboriginal people call them Jukurrpa: "the Dreamings."This web is the Warlpiri land. Practicing the Dreaming, by ritual art, is for the Warlpiri a way to reactivate their ancestral traditions to connect with the cosmos and respond to current social and political issues.In 1979, anthropologist Barbara Glowczewski embarked on a journey to study the Warlpiri in the Australian outback. Struggling at once to maintain their traditions and cultural heritage as well as adapting to the continuing secularization and techno-progress of their European Australian counterparts, she takes us into the landscape, artistic rituals, and turmoil of the Warlpiri over three decades. Becoming accepted among Aboriginal families as a translator, and at the same time a negotiator of two vastly different visions of the earth, contemporary Western culture and the ancient indigenous dreaming culture, Glowczewski created a singular document of ethnological fieldwork and of self-transformation and discovery.

Throughout a large part of the 1980s, F\u00e9lix Guattari, known for his collaborations with Gilles Deleuze and his experimental and groundbreaking practices in psychotherapy, decides to shift his experimental work into a different medium of artistic and creative thought practice: the world of science fiction. Part self-analysis, part cinematic expression of his theoretical work, Guattari\u2019s screenplay merges his theoretical concepts with his passion for comic books, free radio movements, and film. So begins Guattari\u2019s journey to write a screenplay wherein a group of squatters makes contact with a superior intelligence coming from the infinitely small Universe of the Infra-quark (UIQ). Guattari worked feverishly on his film, attempting to secure a budget, traveling to Hollywood, and enlisting the help of American screenwriter Robert Kramer. But the film would never see the light of day. Through the important archival work of artists, Silvia Maglioni and Graeme Thomson, Guattari\u2019s script is now published here, for the first time in English.

An insightful philosophical investigation and reading of the concept of utopia

François Laruelle is professor emeritus at the University of Paris West Nanterre La Défence and the inventor of the science of philosophy, non-philosophy.

Is there any room left for freedom in a programmed world? This is theessential question Vilem Flusser asks in Post-History. This first Englishtranslation of Post-History brings to an Anglophone readership Flusser'sfirst critique of apparatus as the aesthetic, ethical, and epistemological model of present times.

Michel Serres is one of the rare contemporary philosophers to propose an open vision of the world founded on an alliance between the humanities and science.Randolph Burks is a Michel Serres scholar and translator.

In Science Fiction and Extro-Science Fiction, Quentin Meillassoux addresses the problem of chaos and of the constancy of natural laws in the context of literature. With his usual argumentative rigor, he elucidates the distinction between science fiction, a genre in which science remains possible in spite of all the upheavals that may attend the world in which the tale takes place, and fiction outside-science, the literary concept he fashions in this book, a fiction in which science becomes impossible. With its investigations of the philosophies of Hume, Kant, and Popper, Science Fiction and Extro-Science Fiction broadens the inquiry that Meillassoux began in After Finitude, thinking through the concrete possibilities and consequences of a chaotic world in which human beings can no longer resort to science to ground their existence. It is a significant milestone in the work of an emerging philosopher, which will appeal to readers of both philosophy and literature. The text is followed by Isaac Asimov\u2019s essay \u201cThe Billiard Ball.\u201d

Those who are mad like Antonin Artaud, are they just as mad as he was? Madness, like the plague, is contagious, and everyone, from his psychiatrists to his disciples, family, and critics, everyone who gets close to Artaud, seems to participate in his delirium. Sylv\u00e8re Lotringer explores various embodiments of this shared delirium through what Artaud called \u201cmental dramas\u201d—a series of confrontations with his witnesses or \u201cpersecutors\u201d where we uncover the raw delirium at work, even in Lotringer himself. Mad Like Artaud does not intend to add one more layer of commentary to the bitter controversies that have been surrounding the cursed poet\u2019s work since his death in 1948, nor does it take sides among the different camps who are still haggling over his corpse. This book speaks of the site where \u201cmadness\u201d itself is simmering.