In his stunning essay Coldness and Cruelty Gilles Deleuze provides a rigorous and informed philosophical examination of the work of late nineteenth-century German novelist Leopold von Sacher-Masoch. Deleuze's essay, certainly the most profound study yet produced on the relations between sadism and masochism, seeks to develop and explain Masoch's peculiar way of 'desexualizing' love while at the same time sexualizing the entire history of humanity. He shows that masochism is something far more subtle and complex than the enjoyment of pain, that masochism has nothing to do with sadism: their worlds do not communicate, just as the genius of those who created them -- Masoch and Sade -- lie stylistically, philosophically, and politically poles apart.

Venus in Furs, the most famous of Masoch's novels, belongs to an unfinished cycle of works that Masoch entitled The Heritage of Cain. The cycle was to treat a series of themes, including love, war, and death. The present work is about love. Although the entire constellation of symbols that has come to characterize the masochistic syndrome can be found here -- fetishes, whips, disguises, fur-clad women, contracts, humiliations, punishment, and always the volatile presence of a terrible coldness -- these received associations do not eclipse the truly singular and surprising power of Masoch's eroticism.

How neoliberals turned to nature to defend inequality after the end of the Cold War

Neoliberals should have seen the end of the Cold War as a total victory--but they didn't. Instead, they saw the chameleon of communism changing colors from red to green. The poison of civil rights, feminism, and environmentalism ran through the veins of the body politic and they needed an antidote.

To defy demands for equality, many neoliberals turned to nature. Race, intelligence, territory, and precious metal would be bulwarks against progressive politics. Reading and misreading the writings of their sages, Friedrich Hayek and Ludwig von Mises, they articulated a philosophy of three hards--hardwired human nature, hard borders, and hard money--and forged the alliances with racial psychologists, neoconfederates, ethnonationalists, and goldbugs that would become known as the alt-right.

Following Hayek's bastards from Murray Rothbard to Charles Murray to Javier Milei, we find that key strains of the Far Right emerged within the neoliberal intellectual movement not against it. What has been reported as an ideological backlash against neoliberal globalization in recent years is often more of a frontlash. This history of ideas shows us that the reported clash of opposites is more like a family feud.

From the acclaimed French philosopher, intellectual, and novelist, a brilliant account of the social and economic costs of civilization

In this important work, Georges Bataille uses his novel economic theory as the basis for an incisive inquiry into the very nature of civilization. He introduces here his concept of the accursed share, the surplus energy that any system, natural or cultural, must expend; it is this expenditure, according to Bataille, that most clearly defines a society. His examples include sacrifice among the Aztecs, potlatch among the Northwest Coast Indians, military conquest in Islam, and Buddhist monasticism in Tibet.

In this way, Bataille proposes a theory of a general economy based on excess and exuberance that radically revises conventional economic models of scarcity and utility. A brilliant blend of economics and aesthetics, ethics and anthropology, The Accursed Share provides an excellent introduction to Bataille's philosophic work. It will be of particular interest not only to readers of his fiction and essays but also to cultural theorists, anthropologists, and economists of all schools.

Why was the discourse of family values so pivotal to the conservative and free-market revolution of the 1980s and why has it continued to exert such a profound influence on American political life? Why have free-market neoliberals so often made common cause with social conservatives on the question of family, despite their differences on all other issues?

In this book, Melinda Cooper challenges the idea that neoliberalism privileges atomized individualism over familial solidarities, and contractual freedom over inherited status. Delving into the history of the American poor laws, she shows how the liberal ethos of personal responsibility was always undergirded by a wider imperative of family responsibility and how this investment in kinship obligations recurrently facilitated the working relationship between free-market liberals and social conservatives.

Neoliberalism, she argues, must be understood as an effort to revive and extend the poor law tradition in the contemporary idiom of household debt. As neoliberal policymakers imposed cuts to health, education, and welfare budgets, they simultaneously identified the family as a wholesale alternative to the twentieth-century welfare state. And as the responsibility for deficit spending shifted from the state to the household, the private debt obligations of family were defined as foundational to socio-economic order. Despite their differences, neoliberals and social conservatives were in agreement that the bonds of family needed to be encouraged -- and at the limit enforced -- as a necessary counterpart to market freedom.

In a series of case studies ranging from Clinton's welfare reform to the AIDS epidemic, and from same-sex marriage to the student loan crisis, Cooper explores the key policy contributions made by neoliberal economists and legal theorists. Only by restoring the question of family to its central place in the neoliberal project, she argues, can we make sense of the defining political alliance of our times, that between free-market economics and social conservatism.

Pure Immanence collects the essays of Gilles Deleuze on a complex theme at the heart of his philosophy. In his last piece of writing, included here, Deleuze gives a simple name to this problem: a life. Newly translated and gathered in one volume for the first time, the essays in Pure Immanence capture Deleuze's persistent search throughout his philosophical work for a new and superior form of empiricism that rethinks the relation of thought to life. I have always felt, writes Deleuze, that I am an empiricist, that is, a pluralist.

Announced in his very first book on David Hume, then pursued in his early studies of Nietzsche and Bergson and in his later clinical essays, the issue of an empiricist conversion was central to Deleuze's thinking, in particular to his aesthetics and his conception of the art of cinema. For Deleuze, such a conversion, such an empiricism, such a new art and will-to-art were, in fact, what was most needed in the new regime of communication and information-machines.

The last, seemingly minor question of a life is thus inseparable from Deleuze's striking image of philosophy not as a wisdom we already possess, but as a pure immanence of what is yet to come. Pure Immanence exposes the new and urgent problems such a philosophy confronts today, one whose most difficult task, the invention of a life, has yet to be achieved.

Georges Bataille considered The Accursed Share, his radical critique of economic theories based on rational categories of need, scarcity, and utility, his most important project. In Volume I, he announced two further volumes, The History of Eroticism and Sovereignty, but he never published them in book form. This Zone edition includes in a single volume a reconstruction of completed versions of these texts as published in Bataille's posthumous collected works.

Here, Bataille expands on the notion developed in Volume I of an economics based not on the management of scarce resources but on the exuberant consumption of excess production, the accursed share. In its first part, Bataille identifies eroticism as an ideal form of consumption, since in his view it is useless, purposeless. As this expenditure of excess energy demarcates the realm of human autonomy, the study of eroticism leads naturally to an examination of sovereignty, in which Bataille defines the sovereign individual as one who consumes and does not labor, creating a life beyond the realm of utility.

Few works of political and cultural theory have been as enduringly provocative as Guy Debord's Society of the Spectacle. From its publication amid the social upheavals of the 1960s to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late twentieth century. Now finally available in a superb English translation approved by the author, Debord's text remains as crucial as ever for understanding the contemporary effects of power, which are increasingly inseparable from the new virtual worlds of our rapidly changing image / information culture.

In all that has happened in the last twenty years, the most important change lies in the very continuity of the spectacle. Quite simply, the spectacle's domination has succeeded in raising a whole generation moulded to its laws. The extraordinary new conditions in which this entire generation has lived constitute a comprehensive summary of all that, henceforth, the spectacle will forbid; and also all that it will permit.-- Guy Debord (1988)

In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of photography. It must, she insists, be understood in its inseparability from the many catastrophes of recent history. She argues that photography is a particular set of relations between individuals and the powers that govern them and, at the same time, a form of relations among equals that constrains that power. Anyone, even a stateless person, who addresses others through photographs or occupies the position of a photograph's addressee, is or can become a member of the citizenry of photography.

The crucial arguments of the book concern two groups that have been rendered invisible by their state of exception: the Palestinian noncitizens of Israel and women in Western societies. Azoulay's leading question is: Under what legal, political, or cultural conditions does it become possible to see and show disaster that befalls those with flawed citizenship in a state of exception? The Civil Contract of Photography is an essential work for anyone seeking to understand the disasters of recent history and the consequences of how they and their victims are represented.

What is needed for something new to appear? According to Gilles Deleuze, one of the most brilliant of contemporary philosophers, this question of novelty is the major problem posed by Bergson's work. In Bergsonism, Deleuze demonstrates both the development and the range of three fundamental Bergsonian concepts: duration, memory, and the lan vital.

A perfect companion book to Bergson's Matter and Memory, Bergsonism is also of particular interest to students of Deleuze's own work, influenced as it is by Bergson. Given his texts on Nietzsche, Kafka, and cinema, this book by Deleuze is essential to his English-reading audience. The paperback contains a new afterword prepared by the author especially for this English-language edition.

In this seminal, founding work of political anthropology, Pierre Clastres takes on some of the most abiding and essential questions of human civilization: What is power? What is society? How, among all the possible modes of political organization, did we come to choose the monolithic State model and its accompanying regimes of coercion? As Clastres shows, other and different regimes do indeed exist, and they existed long before ours -- regimes in which power, though it manifests itself everywhere, is nonetheless noncoercive.

In such societies, political culture, and cultural practices generally, are not only not submissive to the State model, but they actively avert it, rendering impossible the very conditions in which coercive power and the State could arise. How then could our own societies of the State ever have arisen from these rich and complex stateless societies, and why?

Clastres brilliantly and imaginatively addresses these questions, meditating on the peculiar shape and dynamics of so-called primitive societies, and especially on the discourses with which civilized (i.e., political, economic, literate) peoples have not ceased to reduce and contain them. He refutes outright the idea that the State is the ultimate and logical density of all societies. On the contrary, Clastres develops a whole alternate and always affirmative political technology based on values such as leisure, prestige, and generosity.

Through individual essays he explores and deftly situates the anarchistic political and social roles of storytelling, homosexuality, jokes, ruinous gift-giving, and the torturous ritual marking of the body, placing them within an economy of power and desire very different from our own, one whose most fundamental goal is to celebrate life while rendering the rise of despotic power impossible. Though power itself is shown to be inseparable from the richest and most complex forms of social life, the State is seen as a specific but grotesque aberration peculiar only to certain societies, not least of which is our own.

Not for sale in the U.K. and British Commonwealth, South Africa, Burma, Jordan, and Iraq.

Wonders and the Order of Nature is about the ways in which European naturalists from the High Middle Ages through the Enlightenment used wonder and wonders, the passion and its objects, to envision themselves and the natural world. Monsters, gems that shone in the dark, petrifying springs, celestial apparitions -- these were the marvels that adorned romances, puzzled philosophers, lured collectors, and frightened the devout.

Drawing on the histories of art, science, philosophy, and literature, Lorraine Daston and Katharine Park explore and explain how wonder and wonders fortified princely power, rewove the texture of scientific experience, and shaped the sensibility of intellectuals. This is a history of the passions of inquiry, of how wonder sometimes inflamed, sometimes dampened curiosity about nature's best-kept secrets. Refracted through the prism of wonders, the order of nature splinters into a spectrum of orders, a tour of possible worlds.

Following in the wake of his groundbreaking work War in the Age of Intelligent Machines, Manuel De Landa presents a brilliant, radical synthesis of historical development of the last thousand years. A Thousand Years of Nonlinear History sketches the outlines of a renewed materialist philosophy of history in the tradition of Fernand Braudel, Gilles Deleuze, and F lix Guattari, while engaging -- in an entirely unprecedented manner -- the critical new understanding of material processes derived from the sciences of dynamics. Working against prevailing attitudes that see history merely as the arena of texts, discourses, ideologies, and metaphors, De Landa traces the concrete movements and interplays of matter and energy through human populations in the last millennium. The result is an entirely novel approach to the study of human societies and their always mobile, semi-stable forms, cities, economies, technologies, and languages.

De Landa attacks three domains that have given shape to human societies: economics, biology, and linguistics. In each case, De Landa discloses the self-directed processes of matter and energy interacting with the whim and will of human history itself to form a panoramic vision of the West free of rigid teleology and naive notions of progress and, even more important, free of any deterministic source for its urban, institutional, and technological forms. The source of all concrete forms in the West's history, rather, is shown to derive from internal morphogenetic capabilities that lie within the flow of matter--energy itself.

A Swerve Edition.

Erwin Panofsky's Perspective as Symbolic Form is one of the great works of modern intellectual history, the legendary text that has dominated all art-historical and philosophical discussions on the topic of perspective in this century. Finally available in English, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.

Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of archaeology of Western representation that far surpasses the usual scope of art historical studies.

Perspective in Panofsky's hands becomes a central component of a Western will to form, the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.

Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.

An unprecedented art-historical account of practices of image ingestion from ancient Egypt to the twentieth century

Eating and drinking images may seem like an anomalous notion but, since antiquity, in the European and Mediterranean worlds, people have swallowed down frescoes, icons, engravings, eucharistic hosts stamped with images, heraldic wafers, marzipan figures, and other sculpted dishes. Either specifically made for human consumption or diverted from their original purpose so as to be ingested, these figured artifacts have been not only gazed upon but also incorporated--taken into the body--as solids or liquids.

How can we explain such behavior? Why take an image into one's own body, devouring it at the risk of destroying it, consuming rather than contemplating it wisely from a distance? What structures of the imagination underlie and justify these desires for incorporation? What are the visual configurations offered up to the mouth, and what are their effects? What therapeutic, religious, symbolic, and social functions can we attribute to these forms of relations with icons? These are a few of the questions raised in this investigation into iconophagy.

Iconophages aims to retrace, for the first time, the history of iconophagy. Jérémie Koering examines this unexplored facet of the history of images through an interdisciplinary approach that ranges across art history, cultural and material history, anthropology, philosophy, and the history of the body and the senses. He analyzes the human investment, in terms of culture and imagination, at stake in this seemingly paradoxical way of experiencing images. Beyond the hidden knowledge unearthed here, these pages bring to light a new way of understanding images, just as they illuminate the occasionally outlandish relations we maintain with them.

Neoliberal rationality -- ubiquitous today in statecraft and the workplace, in jurisprudence, education, and culture -- remakes everything and everyone in the image of homo oeconomicus. What happens when this rationality transposes the constituent elements of democracy into an economic register? In vivid detail, Wendy Brown explains how democracy itself is imperiled.

The demos disintegrates into bits of human capital; concerns with justice cede to the mandates of growth rates, credit ratings, and investment climates; liberty submits to the imperative of human capital appreciation; equality dissolves into market competition; and popular sovereignty grows incoherent. Liberal democratic practices may not survive these transformations. Radical democratic dreams may not either.

In an original and compelling theoretical argument, Brown explains how and why neoliberal reason undoes the political form and political imaginary it falsely promises to secure and reinvigorate. Through meticulous analyses of neoliberalized law, political practices, governance, and education, she charts the new common sense.

Undoing the Demos makes clear that, far from being the lodestar of the twenty-first century, a future for democracy depends upon it becoming an object of struggle and rethinking.

Death and the Idea of Mexico is the first social, cultural, and political history of death in a nation that has made death its tutelary sign. Examining the history of death and of the death sign from the sixteenth-century holocaust to contemporary Mexican American identity politics, anthropologist Claudio Lomnitz's innovative study marks a turning point in understanding Mexico's rich and unique use of death imagery. Unlike contemporary Europeans and Americans, whose denial of death permeates their cultures, the Mexican people display and cultivate a jovial familiarity with death. This intimacy with death has become the cornerstone of Mexico's national identity.

It is tempting to view this rich elaboration of death imagery as yet another example of an invented tradition, that is, a cult shaped by the modern state's cultural policies or by the narrow interests of contemporary identity politics. Lomnitz takes a different approach. Rather than flattening out the tradition by insisting only on the ways it is willfully manipulated, this book focuses on the dialectical relationship between dying, killing, and the administration of death, and the very formation of the colonial state, of a rich and variegated popular culture, and of the Mexican nation itself. The elevation of Mexican intimacy with death to the center of national identity is but a moment within that history -- within a history in which the key institutions of society are built around the claims of the fallen.

Based on a wide range of sources -- from missionary testimonies to newspaper cartoons, from masterpieces of artistic vanguards to accounts of public executions and political assassinations -- Death and the Idea of Mexico moves beyond the limited methodology of traditional historiographies of death to probe the depths of a people and a country whose fearless acquaintance with death shapes the very terms of their social compact. This work effects a novel turn in the classical historiography of death -- a turn that can be characterized by a move from social and cultural history to political history. The move toward the politics of death gives readers a unique insight into the peculiar story of death in the Americas.

In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN.

Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing.

In Forensic Architecture, Eyal Weizman, the group's founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed.

Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere.

Weizman's Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.

A thorough investigation of the current combination of austerity and extravagance that characterizes government spending and central bank monetary policy

At the close of the 1970s, government treasuries and central banks took a vow of perpetual self-restraint. To this day, fiscal authorities fret over soaring public debt burdens, while central bankers wring their hands at the slightest sign of rising wages. As the brief reprieve of coronavirus spending made clear, no departure from government austerity will be tolerated without a corresponding act of penance.

Yet we misunderstand the scope of neoliberal public finance if we assume austerity to be its sole setting. Beyond the zero-sum game of direct claims on state budgets lies a realm of indirect government spending that escapes the naked eye. Capital gains are multiply subsidized by a tax system that reserves its greatest rewards for financial asset holders. And for all its airs of haughty asceticism, the Federal Reserve has become adept at facilitating the inflation of asset values while ruthlessly suppressing wages. Neoliberalism is as extravagant as it is austere, and this paradox needs to be grasped if we are to challenge its core modus operandi.

Melinda Cooper examines the major schools of thought that have shaped neoliberal common sense around public finance. Focusing, in particular, on Virginia school public choice theory and supply-side economics, she shows how these currents produced distinct but ultimately complementary responses to the capitalist crisis of the 1970s. With its intellectual roots in the conservative Southern Democratic tradition, Virginia school public choice theory espoused an austere doctrine of budget balance. The supply-side movement, by contrast, advocated tax cuts without spending restraint and debt issuance without guilt, in an apparent repudiation of austerity. Yet, for all their differences, the two schools converged around the need to rein in the redistributive uses of public spending. Together, they drove a counterrevolution in public finance that deepened the divide between rich and poor and revived the fortunes of dynastic wealth.

Far-reaching as the neoliberal counterrevolution has been, Cooper still identifies a counterfactual history of unrealized possibilities in the capitalist crisis of the 1970s. She concludes by inviting us to rethink the concept of revolution and raises the question: Is another politics of extravagance possible?

In this remarkable work, Gilles Deleuze, the renowned French philosopher, reflects on one of the thinkers of the past who most influenced his own sweeping reconfiguration of the tasks of philosophy. For Deleuze, Spinoza, along with Nietzsche and Lucretius, conceived of philosophy as an enterprise of liberation and radical demystification. He locates in Spinoza a set of affects, a kinetic determination, an impulse and makes Spinoza into an encounter, a passion.

Expressionism in Philosophy was the culmination of a series of monographic studies by Deleuze (on Hume, Bergson, Nietzsche, Proust, Kant, and Sacher-Masoch) and prepared the transition from these abstract treatments of historical schemes of experience to the nomadology of Capitalism and Schizophrenia (Anti-Oedipus and A Thousand Plateaus, co-authored with F lix Guattari). Thus, Expressionism in Philosophy is both a pivotal reading of Spinoza's work and a crucial text within the development of Deleuze's thought.

Objectivity has a history, and it is full of surprises. In Objectivity, Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences -- and show how the concept differs from alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images.

From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences -- from anatomy to crystallography -- are those featured in scientific atlases: the compendia that teach practitioners of a discipline what is worth looking at and how to look at it. Atlas images define the working objects of the sciences of the eye: snowflakes, galaxies, skeletons, even elementary particles.

Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology.

As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity -- or truth-to-nature or trained judgment -- is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. Moreover, the very point at which they visibly converge is in the very act of seeing not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image, therefore, are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to any one interested in the elusive and crucial notion of objectivity -- and in what it means to peer into the world scientifically.