Imprint: Dead Letter Office
Published: 06/28/2013
Dialectics Unbound: On the Possibility of Total Writing re-imagines figures of ontological totality, in and out of writing, first by exploring some lineages of the dialectic, and second by engaging thinkers such as Theodor Adorno and his assertion of nonidentity, Julia Kristeva and her positing of a fourth term of the dialectic, and Fredric Jameson’s[…]
Imprint: Dead Letter Office
Published: 12/24/2012
Ostranenie, the term for defamiliarization introduced by Russian writer and critic Victor Shklovsky, means, among other things, to see in strangeness. To see in strangeness is to participate in an illusion that is more real than real. It may be achieved by (re)presenting the surface as the substance, the play as the thing, or by[…]
Published: 12/12/2012
continent. maps a topology of unstable confluences and ranges across new thinking traversing interstices and alternate directions in culture, theory, politics and art. continent. Year 1: A selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative[…]
Imprint: Dead Letter Office
Published: 10/09/2012
Read a review of What is Philosophy? in Scoop Review of Books. “Every written work,” Giorgio Agamben opens the preface to Infancy and History, “can be regarded as the prologue (or rather, the broken cast) of a work never penned, and destined to remain so.” Although that observation applies to any work of writing, the[…]
Published: 01/18/2012
What should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and[…]
Imprint: Uitgeverij
Published: 06/06/2011
Writing Death opens a meditation on the possibility of mourning; of whether there is a subject, or even object, that one mourns—of whether one is mourning, can only mourn, the very impossibility of mourning itself. The manuscript is framed by two attempts at mourning—Avital Ronell’s “The Tactlessness of an Unending Fadeout” and Jeremy Fernando’s “adieu.” In-between—for[…]