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Form and Object
What is a thing? What is an object? Tristan Garcia decisively overturns 100 years of Heideggerian orthodoxy about the supposedly derivative nature of objects to put forward a new theory of ontology that gives us deep insights into the world and our place in it."e;
Hate
In a controversial first novel that took the French literary world by storm and won the Prix de Flore, Tristan Garcia uses sex, friendships and love affairs to show what happens to people when political ideals - Marxism, gay rights, sexual liberation, nationalism - come to an end. As Elizabeth Levallois, a cultural journalist, looks back on the decade and on the ravages of the AIDS epidemic in Paris, a drama unfolds - one in which love turns to hate and fidelity turns to betrayal, in both affairs of the heart and politics. With great verve and ingenuity, Garcia lays claim to an era that promised freedom as never before, and he paints an indelible, sharp, but sympathetic portrait of intellectuals lost in the age of MTV.
Architecture of the Possible
As a philosopher and a novelist, Tristan Garcia inhabits two worlds, metaphysics and literary fiction, like an amphibious creature moving between the land and the sea, breathing in both air and water. He is drawn to metaphysics because, as he puts it, metaphysics is the edge of the abyss of thought, the unstable frontier of indeterminacy where thinking is no longer constrained by the principles of logic or the law of non-contradiction. Metaphysics seeks to describe the world from outside one’s own point of view. It aims at an ecstatic reconstruction of what keeps us locked up in our conditions, in our time and place, here among the living, with our subjectivities and within our situations. It gives us an idea of all constraints from a point of view that posits the possible absence of the constraint of having a point of view. The ambition of this slender book – which is at the same time a concise introduction to Garcia’s work and thought – is to help us grasp and transform the conditions of our existence by paying equal attention to what is ending and what is just beginning, to the dusk and to the dawn. Until we cannot hold our breath any longer.
Life Intense
Our lives today are oppressed by the demand that we live, feel and experience with ever greater intensity. We are enticed to try exotic flavors and smells; urged to enjoy a wide range of sexual experiences; pushed to engage in extreme sports and recreational drugs - all in the pursuit of some new, unheard-of intensity.Tristan Garcia argues that such intensity rarely lives up to its promise. It always comes at a price: one that defines the ethical predicament of contemporary life.The notion of intensity was the hidden key to Garcia's landmark book Form and Object. In The Life Intense, the first part of his ambitious Letting Be trilogy, he begins to develop it in detail. This first book focuses on ethics; the forthcoming volumes will be devoted to politics and then metaphysics.
We Ourselves
Throughout the history of human societies, the question of 'we' has always entailed the question of 'us and them'. Tristan Garcia's looks at the history of how people have imagined themselves in their societies. All in all, this work is a rigorous engagement with the history of humanity's attempts at being collectively.
Garcian Meditations
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.
Fields of Sense
Markus Gabriel proposes a radical form of ontological pluralism that divorces ontology from metaphysics, understood as the most fundamental theory of absolutely everything (the world). He argues that the concept of existence is incompatible with the exist
We Ourselves
Throughout the history of human societies, the question of 'we' has always entailed the question of 'us and them'. Tristan Garcia's looks at the history of how people have imagined themselves in their societies. All in all, this work is a rigorous engagement with the history of humanity's attempts at being collectively.
The Hidden World
Graphics and propaganda from secret societies, evangelical and fundamentalist movements, new-age spiritualists, Scientologists, Freemasons, ultraconservatives and all kinds of conspirators; encyclopedias for children and even Dr. Netter's famous medical illustrations--with The Hidden World, Los Angeles-based artist Jim Shaw (born 1952) exhibits the incredible collection of didactic graphic art that is the main source of inspiration for his diversely informed art. Renowned for his striking paintings, drawings, videos, installations and performances, Shaw is also a compulsive collector, constantly on the hunt for pop-culture arcana in thrift stores or on the Internet. The Hidden World gives the reader the chance to dive into an overflowing world of paintings, sculptures, brochures, t-shirts, books, vinyl and educational material that recycles the myriad myths and beliefs of America. A lengthy interview with Shaw elucidates his fascination with this visual world.
Ellsworth Kelly: Catalogue Raisonné of Paintings, Reliefs, and Sculpture Volume 2
The Department of Speculative Facts connects two seemingly contradictory approaches: Speculation which attempts to think and act beyond existing knowledge and structures, and fact-checkers in search for a solid consensus on which our reality can be built. When stretching knowledge and speculating with fiction, what sense of responsibility is needed in times of democratized opinions and fake news? Learning from the other SF?Science Fiction?we think of speculation through facts, and facts through speculation, to situate truth culturally.00The backbone of this book is an e-mail exchange between two fact-checkers from the New York Times Magazine, which we handed over to artists to re-write, re-perform, and re-design. The publication includes the original letters, workshop scripts, as well as additional texts by philosophers, journalists, writers, and artists looking at new social contracts, with which we can anchor ourselves in the present.
