An early work in which Baudrillard became Baudrillard. When Fatal Strategies was first published in French in 1983, it represented a turning point for Jean Baudrillard: an utterly original, and for many readers, utterly bizarre book that offered a theory as proliferative, ecstatic, and hallucinatory as the postmodern world it endeavored to describe. Arguing against the predetermined outcomes of dialectical thought with his renowned, wry, ambivalent passion, with this volume Jean Baudrillard mounted an attack against the “false problems” posed by (...) Western philosophy. If his Marxist days were firmly behind him, Baudrillard here indicated that metaphysics had also gone the way of sociology and politics: the contemporary world demanded nothing less than Pataphysics, Alfred Jarry's absurdist philosphy that described the laws of the universe supplementary to this one. In effect, with Fatal Strategies, Baudrillard became Baudrillard. In his extrapolationist manner, Baudrillard sought to replace Western philosophy's circular arguments with a ritualistic Theater of Cruelty. Using this line of thought developed in Fatal Strategies, Baudrillard went on, throughout the 1980s, to find new and shatteringly accurate ways of discussing American corporatocracy, arms build-up, and hostage taking. Fatal Strategies asserts a profound critique of American politics, and it is an important step towards his examination of evil.Jean Baudrillard was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur. His Simulations instantly became a cult classic and made him a controversial voice in the world of politics and art. (shrink)

What exactly is the human element separating humans from animals and machines? The common answers that immediately come to mind—like art, empathy, or technology—fall apart under close inspection. Dominic Pettman argues that it is a mistake to define such rigid distinctions in the first place, and the most decisive “human error” may be the ingrained impulse to understand ourselves primarily in contrast to our other worldly companions. In _Human Error_, Pettman describes the three sides of the cybernetic triangle—human, animal, and (...) machine—as a rubric for understanding key figures, texts, and sites where our species-being is either reinforced or challenged by our relationship to our own narcissistic technologies. Consequently, species-being has become a matter of _specious_-being, in which the idea of humanity is not only a case of mistaken identity but indeed the mistake of identity. _Human Error_ boldly insists on the necessity of relinquishing our anthropomorphism but also on the extreme difficulty of doing so, given how deeply this attitude is bound with all our other most cherished beliefs about forms of life. (shrink)

Can love really be considered another form of technology? Dominic Pettman says it can - although not before carefully redefining technology as a cultural challenge to what we mean by the "human" in the information age. Using the writings of such important thinkers as Giorgio Agamben, Jean-LucNancy, and Bernard Stiegler as a springboard, Pettman explores the "techtonic" movements of contemporary culture, specifically in relation to the language of eros. Highly ritualized expressions of desire - love, in other words - always (...) reveal an era's attitude toward what it means to exist as a selfamong others. For Pettman, the articulation of love is a technique of belonging: a way of responding to the basic plurality of everyone's identity, a process that becomes increasingly complex as the forms of mediated communication, from cell phone and text messaging to the mass media, multiply andmesh together.Wresting the idea of love from the arthritic hands of Romanticism, Pettman demonstrates the ways in which this dynamic assemblage - "the stirrings of the soul" - have always been a matter of tools, devices, prosthetics, and media. Love is, after all, something we make. And, love, this book argues,is not eternal, but external. (shrink)

There is a popular conception among many Zeitgeist watchers, especially in places like the US, Western Europe and Australia, of the urbanized East as existing somehow further into the future. As William Gibson once stated: `The future is here; it just isn't equally distributed yet.' This kind of cultural fetishism extends to not only technolust, but the practices that new gadgets and electronics encourage. The specific phenomenon explored in this article is that of virtual girlfriends and boyfriends: whether in the (...) form of avatars or automated SMS text messages. This particularly Japanese `craze', if we can call it that, fascinates and appals people who still hold P2P romance IRL in high-esteem. It seems like an insult to the intrinsically human and humanist discourse of courtship; and indeed it is. How does this perspective change, however, if we consider `love' as a technology? That is, as both a code with its own algorithmic parameters, and a discourse that also challenges the hyper-rational assumptions of the `merely machinic'. Extending the argument articulated in my book, Love and Other Technologies, this article asks how the emergence of virtual dating and other techno-inflected treatments of romance are working to undo our jealously held notions of intimacy and identity. It concludes that all sex can be considered cybersex, given the communication flows that occur both before, during and after the act. For, as we continue to enframe the discourse of intimacy via new and mobile media, we find it increasingly difficult to deny that intensified inter-subjectivity is always already a matter of technics. Indeed, what Heidegger says of modern technology can effectively be applied to modern love: that it embodies an `unreasonable demand' of nature (and thus has the capacity to reveal something essential about the posthuman condition). (shrink)

It is sometimes argued that contemporary media technologies push individuals into collective action on an industrial scale, without them necessarily being aware of it. Yet what if the problem is not that we are all synchronized to the same affective networks and moments, but rather dispersed into countless different networks and moments? What if the effect of so-called social media is to calibrate the interactive spectacle so that we never fully feel the same way as other potential allies at the (...) same moment? While one person is fuming about economic injustice or climate change denial, another is giggling at a cute cat video, and, two hours late, vice versa. The nebulous indignation which constitutes the very fuel of true social change can be redirected safely around the network, avoiding any dangerous surges of radical activity In this short and provocative book Dominic Pettman examines the deliberate deployment of what he calls ‘asynchronous hypermodulation’, as a key strategy encoded into the contemporary media environment. By focusing on ‘we, the mediated’, this radical intervention challenges the narratives that portray the new media environment as a monolithic media apparatus, rendering us all into the same libidinal grey glue, subsequently channelled at will through the pleasure palace of the internet. The unprecedented power of the Internet requires us to rethink the potential for infinite distractions that accompany it. (shrink)

On the stupidity of oysters -- Divining creaturely love -- Horsing around: the marriage blanc of Nietzsche, Andreas-Salomø, and Røe -- Groping for an opening: Rilke between animal and angel -- Electric caresses:Rilke, Balthus, and Mitsou -- Between perfection and temptation: Musil, Claudine, and Veronica -- The biological travesty -- "The creature whom we love": Proust and jealousy -- The love tone: capture and captivation -- "The soft word that comes deceiving": Fournival's bestiary of love -- The cuckold and the (...) cockatrice: Fourier and Hazlitt -- The animal bride and horny toads -- Unsettled being: Ovid's metamorphoses -- Fickle metaphysics -- Nymphomania and faunication -- Senseless arabesques: Wendy and Lucy -- The goat in the machine (a reprise) -- On cetaceous maidens -- Animal magnetism and alternative currents (or Tesla and the white dove). (shrink)

Tolstoy's remarkably economical novella The Kreutzer Sonata manages to create one of the most intense, vivid, and thought-provoking portraits of jealousy in the canon, and is as disturbing to read today as it no doubt was in 1889. The rather unhinged protagonist, Pozdnyshev, explains to his traveling companion and narrator: “Of all the passions, it is sexual, carnal love that is the strongest, the most malignant and the most unyielding” (48). This article identifies not only the “bestial” element of human (...) sexuality in Tolstoy's story but also the array of animals which the author offers to ventriloquize a certain complex (and times confused) polemic about gender relations. In other words, this analysis offers an interpretation of The Kreutzer Sonata as bestiary; one which offers a moral taxonomy of creaturely life and creaturely love. From the green-eyed monster of jealousy itself, through the Venus fly-trap and porcine couple, right up to the wild murderous beast, Pozdnyshev's confession is read via this zoological trope in order to emphasize, and question, that mobile border which separates the human from the inhuman, the civilized from the uncivilized. And it does so in order to highlight the incoherencies of the anthropocentric discursive regulation of this very same borderline. Animality and animosity are thus presented as the twin avatars of Tolstoy's intense and challenging vision. (shrink)