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In this poetical-philosophical manifesto, Gerald Raunig develops a materialist philosophy of multiplicity. On the basis of seventeen conceptual innovations – from windy kin to transversal intellect, from dissemblage to technecologies, from minor masculinity to condividual revolution – Raunig reformulates the question of revolutionary multiplicity. Always staying close to contemporary social struggles and movements, the book starts from the contention that we are in need of a storm against identitarian domination, unification, and homogeneity. Raunig argues that the conceptual and political experimentations with multiplicity around and after 1968 did not go far enough: today, anti-identitarian, queer, and multitudinarian positions should not just be defended but pushed further, over unexpected folds and along the flattest surfaces, beyond previous approaches and previous historical experiences. Making Multiplicity is a conceptual manifesto which sets a new tone in poststructural philosophy. The seventeen concepts developed here form an assemblage that invites us to think, read, write, and indeed, make multiplicity.
Rethinking ideas about identity politics and critical thought
What could the term multiplity mean for philosophy? Haas contends that modern understandings of the concept are either Aristotelian or Kantian. The Hegelian concept of multiplicity, Haas suggests, is opposed to both, or supersedes them.
In Information Multiplicity, Johnston describes how fractalized realism has redefined thought itself - from the High Modernist "stream of consciousness" into what the machine philosopher Daniel Dennett refers to as "multiple drafts" or "circuits" operating concurrently in the human brain. In a series of close readings, Johnston traces how such a viral influx of information into human consciousness has been replicated in works by Thomas Pynchon (Gravity's Rainbow and Vineland), Joseph McElroy (Lookout Cartridge), William Gaddis (JR), Don DeLillo (Libra), and William Gibson (Neuromancer).
This book introduces a research method called ‘auto-teach(er)/ing-focused research,’ a research process that aims to document understandings generated by, and for the teacher when that teacher teaches or re-teaches a course. It demonstrates how this method is applied by the author/researcher within the pedagogical space that is the teaching of a course, one that has been taught numerous times by the author/researcher over many years. This book documents understandings about learning and teaching that have emerged within the pedagogical space that is the teaching of a course, and the pedagogical space that is the writing of a book. It explores the notion that pedagogical spaces are complex, and that subjects navigate and are produced within them in a multiplicity of ways. This book applies a research method that generates a knowledge product that research practitioners in a variety of settings might find useful to adopt or adapt.
This book approaches work by Gilles Deleuze and Alain Badiou through their shared commitment to multiplicity, a novel approach to addressing one of the oldest philosophical questions: is being one or many? Becky Vartabedian examines major statements of multiplicity by Deleuze and Badiou to assess the structure of multiplicity as ontological ground or foundation, and the procedures these accounts prescribe for understanding one in relation to multiplicity. Written in a clear, engaging style, Vartabedian introduces readers to Deleuze and Badiou’s key ontological commitments to the mathematical resources underpinning their accounts of multiplicity and one, and situates these as a conversation unfolding amid political and intellectual transformations.
It would be rare these days to find a film that did not in some way depend on the magic of visual effects, from the raging computer-generated dinosaurs in Steven Spielberg's Jurassic Park, to the fantastical worlds of Tim Burton's Alice in Wonderland, and the photoreal tiger and ocean in Ang Lee's Life of Pi. Through interviews with 16 of the leading effects pioneers from around the world (see list below), author Ian Failes explores the making of some of the most memorable film sequences ever produced, showcasing the shift from practical to digital magic with original behind-the-scenes imagery, shot breakdowns, and detailed explanations of some of the secrets behind the making of cinema's most extraordinary creations. Visual effects artists and films discussed include: Dennis Muren (Star Wars: Episodes IV–VI; Terminator 2: Judgment Day; Jurassic Park; A.I. Artificial Intelligence; War of the Worlds) Bill Westenhofer (Babe: Pig in the City; Cats & Dogs; The Lion, the Witch and the Wardrobe; The Golden Compass; Life of Pi) Joe Letteri (The Lord of the Rings trilogy; King Kong; Avatar; Planet of the Apes; The Hobbit trilogy) Rob Legato (Apollo 13; Titanic; The Aviator; Hugo) Paul Franklin (Pitch Black; Christopher Nolan’s The Dark Knight trilogy; Inception; Interstellar) Richard Edlund (Star Wars: Episodes IV–VI; Raiders of the Lost Ark; Ghostbusters; Multiplicity); Edson Williams (X-Men: The Last Stand; The Curious Case of Benjamin Button; The Social Network; Captain America films) Karen Goulekas (Godzilla; The Day After Tomorrow; 10,000 BC; Green Lantern); Chris Corbould (Golden Eye; Die Another Day; Christopher Nolan’s The Dark Knight trilogy; Inception); Ian Hunter (The X-Files; The Dark Knight; The Dark Knight Rises; Inception; Interstellar) John Rosengrant (Terminator films; Jurassic Park; Iron Man films; Real Steel)
The essays in this volume ask if and how trinitarian and pluralist discourses can enter into fruitful conversation with one another. Can trinitarian conceptions of divine multiplicity open the Christian tradition to more creative and affirming visions of creaturely identities, difference, and relationality—including the specific difference of religious plurality? Where might the triadic patterning evident in the Christian theological tradition have always exceeded the boundaries of Christian thought and experience? Can this help us to inhabit other religious traditions’ conceptions of divine and/or creaturely reality? The volume also interrogates the possibilities of various discourses on pluralism by putting them in a concrete pluralist context and asking to what extent pluralist discourse can collect within itself a convergent diversity of orthodox, heterodox, postcolonial, process, poststructuralist, liberationist, and feminist sensibilities while avoiding irruptions of conflict, competition, or the logic of mutual exclusion.
This volume takes up the idea of ‘multiplicity’ as a new common ground for international theory, bringing together 10 scholars to reflect on the implications of societal multiplicity for areas as diverse as nationalism, ecology, architecture, monetary systems, cosmology and the history of political ideas. International relations (IR), it is often said, has contributed no big ideas to the interdisciplinary conversation of the social sciences and humanities. Yet this is an unnecessary silence, for IR uniquely addresses a fundamental fact about the human world: its division into a multiplicity of interacting social formations. This feature is full of consequences for the very nature of societies and for social phenomena of all kinds. And in recent years a research programme has emerged within IR to theorise these ‘consequences of multiplicity’ and to trace how the effects of the international dimension extend into other fields of social life. This book is a powerful indication of the contribution that IR may yet make to the human disciplines. The chapters in this book were originally published as a special issue of Globalizations.
One hundred years before Freud’s striking psychoanalytic case-histories, the narrative psychological case-history emerged in the second half of the eighteenth century in Germany as an epistemic genre (Gianna Pomata) that cut across the disciplines of medicine, philosophy, law, psychology, anthropology and literature. It differed significantly from its predecessors in theology, jurisprudence, and medicine. Rather than subsuming the individual under an established classification, moral precept, category, or type, the narrative psychological case-history endeavored to articulate the individual in its very individuality, thereby constructing a ‘self’ in its irreducible singularity. The presentation and analysis of several significant psychological case-histories, their theory and practice, as well as the controversies surrounding their utility, validity, and function for an envisioned ‘science of the soul’ constitutes the core of the book. Close and ‘distant’ (F. Moretti) readings of key texts and figures in the discussion regarding ‘empirical psychology’ (psychologia empirica), experiential psychology (Erfahrungsseelenkunde) and ‘medical psychology’ (medizinische Psychologie) such as Christian Wolff, J.C. Krüger, J.C. Bolton, Ernst Nicolai, J.A. Unzer, J.G. Sulzer, J.G. Herder, Friedrich Schiller, Jacob Friedrich Abel, Marcus Herz, Karl Philipp Moritz, J.C. Reil, Ernst Platner and Immanuel Kant provide the disciplinary, historical-scientific context within which this genre comes to the fore. As the first systematic argument concerning the early history of this genre, my thesis is that the psychological case-history evolved as part of a pastoral apparatus of care, concern, guidance and direction for what it fashioned as the ‘unique’ individual, as the discursive medium in a process by which the soul became a ‘self’. The narrative psychological case-history was in fact a meta-genre that transcended traditional boundaries of history and fiction, medicine and philosophy, psychology and anthropology, and sought, for the first time, to explicitly link the experience, history, memory, fantasy, previous trauma or suffering of a unique individual to illness, deviance, aberration and crime. In a word, it demonstrated, as Freud later said of his own case-histories in Studies on Hysteria, “the intimate relation between the history of suffering and the symptoms of illness” (“die innige Beziehung zwischen Leidensgeschichte und Krankheitssymptome”). This genre not only had a profound and far-reaching effect on the evolution of German and European literature – one thinks of the rich traditions of the Novella and the Fallgeschichte from Goethe, Büchner, R. L Stevenson, Edgar Allen Poe and Chekhov to Kafka and beyond – but in shaping modern literature, the clinical sciences, and even popular culture. The book should therefore be of interest not merely to Germanists, modern European cultural historians, historians of science, and literary historians, but also those interested in the history of medicine and psychology, the origins of psychoanalysis, the history of anthropology, cultural studies, and, more generally, the history of ideas.