The publication of Form and Object: A Treatise on Things by Tristan Garcia, Prix de Flore-winning novelist, philosopher, essayist, and screenwriter is a genuine event in the history of philosophy. Situating this event within classical, modern and contemporary dialectical space, Jon Cogburn evaluates Garcia's metaphysics, differential ontology, and militant anti-reductionism through a series of seemingly incompatible oppositions: substance/process, analysis/dialectic, simple/whole and discovery/creation. ogburn also includes a critical assessment of the consequences of Garcia's philosophy, the various unresolved problems in his treatise and the future prospects of speculative metaphysics.

The publication of Form and Object: A Treatise on Things by Tristan Garcia, Prix de Flore-winning novelist, philosopher, essayist, and screenwriter is a genuine event in the history of philosophy. Situating this event within classical, modern and contemporary dialectical space, Jon Cogburn evaluates Garcia's metaphysics, differential ontology, and militant anti-reductionism through a series of seemingly incompatible oppositions: substance/process, analysis/dialectic, simple/whole and discovery/creation. ogburn also includes a critical assessment of the consequences of Garcia's philosophy, the various unresolved problems in his treatise and the future prospects of speculative metaphysics.

A comprehensive narrative of nineteenth-century Ottoman cultural history

Against Continuity is the first book to demonstrate that the beating heart of Gilles Deleuze's philosophy is a systematic ontology of irreducible, singular entities. This requires a radical break with decades of Deleuzian orthodoxy, according to which Deleuze's metaphysics revolves around the dissolution of discrete entities into a continuous world of flows and events.With reference to all of Deleuze's work, including published and untranslated seminars, as well as the recently published 'Lettres et autres textes', Arjen Kleinherenbrink critically compares Deleuze's ontology to seven related contemporary thinkers: Levi Bryant, Maurizio Ferraris, Markus Gabriel, Manuel DeLanda, Graham Harman, Tristan Garcia and Bruno Latour. These comparisons establish Deleuze as an important precursor to object-oriented speculative realism and open up exciting new avenues of thought for critics and supporters of Deleuze alike.

This open access book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. For several decades now, the conservation of contemporary art has been a dynamic field of research and reflection. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration. It sets out to bridge the “gap” between theory and practice by investigating conservation practices as a form of reflection and reflection as a form of practice.

Design is inextricably interwoven with all aspects of life and has even produced its own astonishing genre of research. Design research opens up new perspectives of interdisciplinary empiricism, joining with economics, sociology, technology, and philosophy to produce analyses and syntheses that get to the heart of daily life. The twelve contributions from international authors that comprise this book vividly make this case. They cover the relationship between subject and object, animation, all forms of representation, design activism, and many other themes. This book is intended to inspire discussion. Its target reader is anyone seeking to expand their understanding of design, to fundamentally improve their praxis, and to more deeply appreciate life in all of its aspects.

'Overcoming the war of religion between analytics and continentals with a brand-new metaphysical insight, Graham Harman has restored to philosophy its greatness and value.' Maurizio Ferraris, Italian continental philosopher and author of the Manifesto of New Realism The Graham Harman Reader is the essential compendium of shorter works by one of the most influential philosophers of the twenty-first century. The writings in this volume are split into seven chapters. The first concerns Harman’s resistance to both downward and upward reductionism. The second chapter contains works that develop the specific fourfold structure of Object-Oriented Ontology. In the third, we find Harman’s novel arguments for why causal relations between two entities can only be indirect. The fourth chapter discusses why aesthetics deserves to be called first philosophy. The fifth chapter contains Harman’s underrated contributions to ethics and politics, and the sixth deals with epistemology, mind, and science. A concluding seventh chapter contains several previously unpublished writings not available anywhere else. Written in Harman’s typical clear and witty style, the /Reader/ is an essential resource for veteran readers of Harman and newcomers alike.