First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

In this incisive book, Michel de Certeau considers the uses to which social representation and modes of social behavior are put by individuals and groups, describing the tactics available to the common man for reclaiming his own autonomy from the all-pervasive forces of commerce, politics, and culture. In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature to speak of an apposite use of imaginative literature.

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Of fundamental importance to literary critics and philosophers, Difference and Repetition develops two central concepts -- pure difference and complex ...

A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and ...

Examines the philosophy of Henri Bergson, explains his concepts of duration, memory, and elan vital, and discusses the influence of science on Bergson.

Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

In this book Bruno Latour brings together these different approaches to provide a lively and challenging analysis of science, demonstrating how social context..

This article examines the notion of subversive discourse found in both the Brazilian dancemartial art known as capoeira and the recent urban phenomenon called parkour, looking in detail at the origins and influences of the two disciplines. With reference to capoeira, I argue that the linguistic structure which underpins the game provides the space for each capoeirista to develop his or her own creative expression or ‘personality’ within the framework of the discipline. When looking at parkour, I consider the ways (...) in which it embodies both the notion of flesh in Merleau-Ponty’s later writings and how through such an understanding of their bodies and the space around them, practitioners of parkour, known as traceurs, are able to engage in what Foucault refers to as ‘technologies of the self ’. (shrink)