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The first critical work to attempt the mammoth undertaking of reading Badiou's Being and Event as part of a sequence has often surprising, occasionally controversial results. Looking back on its publication Badiou declared: "I had inscribed my name in the history of philosophy†?. Later he was brave enough to admit that this inscription needed correction. The central elements of Badiou's philosophy only make sense when Being and Event is read through the corrective prism of its sequel, Logics of Worlds, published nearly twenty years later. At the same time as presenting the only complete overview of Badiou's philosophical project, this book is also the first to draw out the central component of Badiou's ontology: indifference. Concentrating on its use across the core elements Being and Event-the void, the multiple, the set and the event-Watkin demonstrates that no account of Badiou's ontology is complete unless it accepts that Badiou's philosophy is primarily a presentation of indifferent being. Badiou and Indifferent Being provides a detailed and lively section by section reading of Badiou's foundational work. It is a seminal source text for all Badiou readers.
This volume captures the status of digital humanities within the Arts in South Africa. The primary research methodology falls within the broader tradition of phenomenological hermeneutics, with a specific emphasis on visual hermeneutics. Some of the tools utilised as part of the visual hermeneutic methods are geographic information system (GIS) mapping, sensory ethnography and narrative pathways. Digital humanities is positioned here as the necessary engagement of the humanities with the pervasive digital culture of the 21st century. It is posited that the humanities and arts, in particular, have an essential role to play in unlocking meaning from scientific, technological and data-driven research. The critical engagement with digital humanities is foregrounded throughout the volume, as this crucial engagement works through images. Images (as understood within image studies) are not merely another form of text but always more than text. As such, this book is the first of its kind in the South African scholarly landscape, and notably also a first on the African continent. Its targeted audience include both scholars within the humanities, particularly in the arts and social sciences. Researchers pursuing the new field of digital humanities may also find the ideas presented in this book significant. Several of the chapters analyse the question of dealing with digital humanities through representations of the self as viewed from the Global South. However, it should be noted that self-representation is not the only area covered in this volume. The latter chapters of the book discuss innovative ways of implementing digital humanities strategies and methodologies for teaching and researching in South Africa.
From their decisive emergence in the late eighteenth century, modernity and modern politics were long haunted by irony and paradox. Ours, however, is the age of the implosion of modernity. Modernity has degenerated into self-parody. The polarities that an ironic grasp of it could potentially always hold in tension are finally collapsing into each other. In Modernity and the Political Fix, Andrew Gibson tells the relevant story and asks what aspects of modern politics we might want to salvage and preserve and within what structure we might continue thinking about them. His answer is that these questions call for the isolation of a particular set of concepts; that, rightly positioned in relation to one another, the concepts amount to a political theology; that the very formulation of political temporality is therefore at stake; and that the thinking in question has been and is best represented in modern philosophy and art, above all, modern literature. Ranging through early modern and modern thought from Hobbes, Pascal and Leibniz to Rousseau, Kant, Schopenhauer and Kierkegaard to Foucault, Lacan, Badiou, Jambet and Rancière, and in modern literature and art from Wordsworth and Byron to Goya and Wagner, Huysmans and Wilde, Joyce and Woolf, Joseph Roth, Vicki Baum, Gabriele Tergit and the Weimar novel, Evelyn Waugh and George Orwell to R.S. Thomas and Norman Nicholson, Gibson seeks to compile a modern political aide-memoire, a treasury for a politics to come.
Drawing primarily on the work of Alain Badiou and Jean-Luc Nancy, plus Quentin Meillassoux and Slavoj Zizek, Watkin explores the theme of atheism through the ideas of the death of God and nihilism in contemporary French philosophy.
My First Recession starts after the party is over. This study maps the transition of critical Internet culture from the mid to late 1990s Internet craze to the dotcom crash, the subsequent meltdown of global financial markets and 9/11. In his discussion of the dotcom boom-and-bust cycle, Geert Lovink lays out the challenges faced by critical Internet culture today. In a series of case studies, Lovink meticulously describes the ambivalent attitude that artists and activists take as they veer back and forth between euphoria and skepticism. As a part of this process, Lovink examines the internal dynamics of virtual communities through an analysis of the use of moderation and "collaborative filtering" on mailing lists and weblogs. He also confronts the practical and theoretical problems that appear as artists join the growing number of new-media education programs. Delving into the unexplored gold mines of list archives and weblogs, Lovink reveals a world that is largely unknown to both the general public and the Internet visionaries. Book jacket.
A brand new collection of Jacques Rancière's writings on art and politics.

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