Deleuze and Guattari differentiate between philosophy, science, and the arts - seeing each as a means of confronting chaos - and challenge the common view that philosophy is an extension of logic. The authors also discuss the similarities and distinctions between creative and philosophical writing. Fresh anecdotes from the history of philosophy illuminate this book, along with engaging discussions of composers, painters, writers, and architects.

In _Vibrant Matter_ the political theorist Jane Bennett, renowned for her work on nature, ethics, and affect, shifts her focus from the human experience of things to things themselves. Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we to (...) acknowledge that agency always emerges as the_ _effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events. Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy. (shrink)

Bringing these two emergent areas of thought into direct conversation in Before the Law, Cary Wolfe fosters a new discussion about the status of nonhuman animals and the shared plight of humans and animals under biopolitics.

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.".

_Zoographies_ challenges the anthropocentrism of the Continental philosophical tradition and advances the position that, while some distinctions are valid, humans and animals are best viewed as part of an ontological whole. Matthew Calarco draws on ethological and evolutionary evidence and the work of Heidegger, who called for a radicalized responsibility toward all forms of life. He also turns to Levinas, who raised questions about the nature and scope of ethics; Agamben, who held the "anthropological machine" responsible for the horrors of (...) the twentieth century; and Derrida, who initiated a nonanthropocentric ethics. Calarco concludes with a call for the abolition of classical versions of the human-animal distinction and asks that we devise new ways of thinking about and living with animals. (shrink)

The future is kid stuff -- Sinthom-osexuality -- Compassion's compulsion -- No future.

Animal studies and biopolitics are two of the most dynamic areas of interdisciplinary scholarship, but until now, they have had little to say to each other. Bringing these two emergent areas of thought into direct conversation in _Before the Law_, Cary Wolfe fosters a new discussion about the status of nonhuman animals and the shared plight of humans and animals under biopolitics. Wolfe argues that the human­­­-animal distinction must be supplemented with the central distinction of biopolitics: the difference between those (...) animals that are members of a community and those that are deemed killable but not murderable. From this understanding, we can begin to make sense of the fact that this distinction prevails within both the human and animal domains and address such difficult issues as why we afford some animals unprecedented levels of care and recognition while subjecting others to unparalleled forms of brutality and exploitation. Engaging with many major figures in biopolitical thought—from Heidegger, Arendt, and Foucault to Agamben, Esposito, and Derrida—Wolfe explores how biopolitics can help us understand both the ethical and political dimensions of the current questions surrounding the rights of animals. (shrink)

In _Animacies_, Mel Y. Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually (...) differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns. Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead in toys panic in 2007, and the social lives of environmental illness, _Animacies_ illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world. (shrink)

Nicole Shukin pursues a resolutely materialist engagement with the "question of the animal," challenging the philosophical idealism that has dogged the question by tracing how the politics of capital and of animal life impinge on one ...

Intensive Science and Virtual Philosophy cuts to the heart of the philosophy of Gilles Deleuze and of today's science wars.At the start of the 21st Century, ...

Posthuman ethics -- Great ephemeral tattooed skin -- Art: inhuman ecstasy -- Animalities: ethics and absolute abolition -- Wonder of Teras -- Mystic queer -- Vitalistic ethics: an end to necrophilosophy -- After life.

The inhuman in the humanities : Darwin and the ends of man -- Deleuze, Bergson, and the concept of life -- Bergson, Deleuze, and difference -- Feminism, materialism, and freedom -- The future of feminist theory : dreams for new knowledges -- Differences disturbing identity : Deleuze and feminism -- Irigaray and the ontology of sexual difference -- Darwin and the split between natural and sexual selection -- Sexual difference as sexual selection : Irigarayan reflections on Darwin -- Art and (...) the animal -- Living art and the art of life : women's painting from the western desert. (shrink)

A theoretical physicist and feminist theorist, Karen Barad elaborates her theory of agential realism, a schema that is at once a new epistemology, ontology, and ethics.

Introduction: The problem of vitalism : active/passive -- Brain, system, model : the affective turn -- Vitalism and theoria -- Inorganic art -- Inorganic vitalism -- The vital order after theory -- On becoming -- Living systems, extended minds, gaia -- Conclusion.

This major new book offers a highly original account of ethical and political subjectivity in contemporary culture. It makes a strong case for a non-unitary or nomadic conception of the subject, in opposition to the claims of ideologies such as conservatism, liberal individualism and techno-capitalism. Braidotti takes a bold stand against moral universalism, while offering a vigorous defence of nomadic ethics against the charges of relativism and nihilism. She calls for a new form of ethical accountability that takes "Life" as (...) the subject, not the object, of enquiry. This ethics is presented as a fundamental reconfiguration of our being in the world and it calls for more conceptual creativity in the production of worldviews that can better enable us to behave ethically in a technologically and globally mediated world. The nomadic ethical subject negotiates successfully the complex tension between the multiplicity of political forces on the one hand and the sustained commitment to emancipatory politics on the other. _Transpositions_ provides an intellectually rich guide to the leading critical debates of our time and will be of great interest to scholars and students throughout the humanities and social sciences. (shrink)

This thesis is a contribution to feminist laboratory studies and a critical engagement with the natural sciences, or more precisely research on the biochemical workings and deadly relations of Alzheimer’s disease emanating from a year of field work in a Drosophila fly lab. The natural sciences have been a point of fascination within the field of gender studies for decades. Such sciences produce knowledge on what gets to count as nature and natural, healthy or sick, normal or not, and they (...) have done it with great societal authority and impact throughout European modernity. However, feminist technoscience scholars argue that science and knowledge is socially produced, and political too. Concepts such as nature, animal, human, body, sex, and life itself are not simply given natural realities but phenomena processed through the naturecultures of the laboratory. Situated within such theoretical and methodological approaches, this thesis wonders how scientific facts about Alzheimer’s disease are made in the lab today. What kinds of realities, bodies and ethico-political concerns are enacted? Who gets to live and who gets to die in everyday laboratory practices? Theoretically, the thesis is grounded, particularly, within Karen Barad’s agential realism and posthumanist performativity, and as such it accounts for human and nonhuman entanglements through which AD is performed in the lab in relational ways. In other words, the thesis explores how AD is enacted in the bodies of transgenic fruit flies, as these flies embody the disease, live and die with it. Last but not least, the thesis explores the materialities of death, dying, embodiment and biological waste in a biochemistry lab as constitutive parts of the produced knowledge about AD. (shrink)

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. (...) Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. (shrink)

In the Western cultural imaginaries the monstrous is defined – following Aristotelian categorisations – by its excess, deficiency or displacement of organic matter. These characteristics come to the fore in the field of bioart: a current in contemporary art that involves the use of biological materials (various kinds of soma: cells, tissues, organisms), and scientific procedures, technologies, protocols, and tools. Bioartistic projects and objects not only challenge the conventional ideas of embodiment and bodily boundaries, but also explore the relation between (...) the living and non-living, organic and inorganic, human and nonhuman, as well as various thresholds of the living. -/- By looking at select bioartworks, this paper argues that the analysed projects offer a different ontology of life. More specifically, they expose life as uncontainable, that is, as a power of differentiation that traverses the divide between the living and non-living, organic and inorganic, human and nonhuman, and, ultimately, life and death. In this way, they draw attention to excess, processuality and multiplicity at the very core of life itself. Thus understood, life always already surpasses preconceived material and conceptual limits. -/- Finally, while taking Deleuzian feminisms and new materialism as its theoretical ground, the paper suggests that such a revision of the ontology of life may mobilise future conceptualisations of ethics that evade the anthropocentric logic dominant in the humanities and social sciences. (shrink)

Bioethical dilemmas—including those over genetic screening, compulsory vaccination, and abortion—have been the subject of ongoing debates in the media, among the public, and in professional and academic communities. But the paramount bioethical issue in an age of digital technology and new media, Joanna Zylinska argues, is the transformation of the very notion of life. In this provocative book, Zylinska examines many of the ethical challenges that technology poses to the allegedly sacrosanct idea of the human. In doing so, she goes (...) beyond the traditional understanding of bioethics as a matter for moral philosophy and medicine to propose a new "ethics of life" rooted in the relationship between the human and the nonhuman that new technology prompts us to develop. After a detailed discussion of the classical theoretical perspectives on bioethics, Zylinska describes three cases of "bioethics in action," through which the concepts of "the human," "animal," and "life" are being redefined: the reconfiguration of bodily identity by plastic surgery in a TV makeover show; the reduction of the body to two-dimensional genetic code; and the use of biological material in such examples of "bioart" as Eduardo Kac's infamous fluorescent green bunny. Zylinska addresses ethics from the interdisciplinary perspective of media and cultural studies, drawing on the writings of thinkers from Agamben and Foucault to Haraway and Hayles. Taking theoretical inspiration in particular from the philosophy of alterity as developed by Jacques Derrida, Emmanuel Levinas, and Bernard Stiegler, Zylinska makes the case for a new nonsystemic, nonhierarchical bioethics that encompasses the kinship of humans, animals, and machines. (shrink)