Francois Laruelle's magnum opus, in which he presents a treatise on the method, axioms and objectives of non-philosophy.

The first collection of critical essays on the work of Francois Laruelle.

A crucial text in the development of François Laruelle's oeuvre and an excellent starting point for understanding his broader project, Philosophies of Difference offers a theoretical and critical analysis of the philosophers of difference after Hegel and Nietzsche. Laruelle then uses this analysis to introduce a new theoretical practice of non-philosophical thought. Rather than presenting a narrative historical overview, Laruelle provides a series of rigorous critiques of the various interpretations of difference in Hegel, Nietzsche and Deleuze, Heidegger and Derrida. From Laruelle's innovative theoretical perspective, the forms of philosophical difference that emerge appear as variations upon a unique, highly abstract structure of philosophical decision, the self-posing and self-legitimating essence of philosophy itself. Reconceived in terms of philosophical decision, the seemingly radical concept of philosophical difference is shown to configure rather the identity of philosophy as such, which thus becomes manifest as a contingent and no longer absolute form of thinking. The way is thereby opened for initiating a new form of thought, anticipated here with the development of a key notion of non-philosophy, the Vision-in-One.

In The Dictionary of Non-Philosophy, the French thinker François Laruelle does something unprecedented for philosophers: he provides an enormous dictionary with a theoretical introduction, carefully crafting his thoughts to explain the numerous terms and neologisms that he deems necessary for the project of non-philosophy. With a collective of thinkers also interested in the project, Laruelle has taken up the difficult task of creating an essential guide for entering into his non-standard, non-philosophical terrain. And for Laruelle, even the idea of a dictionary and what a dictionary is become material for his non-philosophical inquiries. As his opening note begins, “Thus on the surface and within the philosophical folds of the dictionary, identity and its effect upon meaning are what is at stake.”

In 1980, at the end of the most intensely political period of his work and life, Louis Althusser penned Philosophy for Non-philosophers. Available here for the first time in English, Philosophy for Non-philosophers constitutes a rigorous and engaged attempt to address a wide reading public unfamiliar with Althusser's project. As such, the work is a concentration of the most fundamental theses of Althusser's own ideas, and presents a synthesis of his sprawling and disparate philosophical and political writings. Nowhere else does Althusser push the distinction between philosophy and other disciplines as far, or develop in such detail the concept of 'practice'. Rather than a work of 'popular philosophy', Philosophy for Non-philosophers is a continuation and conglomeration of Althusser's thought; a thought whose radicality is still perceptible in those that have followed since. Philosophy for Non-philosophers thus provides a vivid encapsulation of Althusser's seminal influence on the leading thinkers of today, including Ranciere, Badiou, Balibar, and Žižek.

In Philosophy and Non-Philosophy since Merleau-Ponty, editor Hugh J. Silverman has collected essays from the leading scholars in Continental philosophy, creating a forum for the discussion of contemporary writings and differing perspectives on the role of philosophy (and its relation to "non-philosophy") since the death of Merleau-Ponty: Sartre, Barthes, Heidegger, Lacan, Levinas, Deleuze, Foucault, Lyotard, Habermas, and Derrida. Included in this volume is Silverman's translation of Merleau-Ponty's last course at the Collège de France in 1960-61 and an extensive research bibliography. Originally published in 1988, Philosophy and Non-Philosophy since Merleau-Ponty is a fascinating inquiry into the developments, directions, and ruptures in Continental philosophy since Merleau-Ponty's death in 1961.

The Non-Philosophy of Gilles Deleuze takes up Deleuze's most powerful argument on the task of contemporary philosophy in the West. Deleuze argues that it is only through a creative engagement with the forms of non-philosophy--notably modern art, literature and cinema--that philosophy can hope to attain the conceptual resources to restore the broken links of perception, language and emotion. In short, this is the only future for philosophy if it is to repair its fragile relationship to immanence to the world as it is.A sequence of dazzling essays analyze Deleuze's investigations into the modern arts. Particular attention is paid to Deleuze's exploration of Liebniz in relation to modern painting and of Borges to an understanding of the relationship between philosophy, literature and language. By illustrating Deleuze's own approach to the arts, and to modern literature in particular, the book demonstrates the critical significance of Deleuze's call for a future philosophy defined as an "art of inventing concepts."

Utilizing François Laruelle's "non-philosophical" method, Smith constructs a unified theory of philosophical theology and ecology by challenging environmental philosophy and theology, claiming that and engagement with scientific ecology can radically change the standard metaphysics of nature, as well as ethical problems related to "the natural".

George Anastaplo has written brilliantly and persuasively about ancient and modern Western political philosophy and literature and about American Constitutional history and law. With his latest book Anastaplo turns away from his areas of admitted expertise to offer, in his own words, "the explorations of a determined amateur with some practice in reading." The essays contained in this volume were originally conceived as a set of seminars, each culminating in a public lecture, which in turn formed the basis for contributions to Encyclopedia Brittanica's 1961-1998 series The Great Ideas Today. Gathered in this one volume, But Not Philosophy provides useful and thought-provoking introductions to seven major "schools" of non-Western thought: Mesopotamian, ancient African, Hindu, Confucian, Buddhist, Islamic, and North American Indian. Anastaplo studies ancient literary epics and legal codes and examines religious traditions and systems of thought, providing detailed references to authoritative histories and commentators. Movingly and thoughtfully written, the essays encourage readers to bring their own Western traditions under similar scrutiny, to study our own grasp of the divine, reliance upon nature and causality, and dependence on philosophy-to learn about what we are from what we are not.

Twenty years after cultivating a new orientation for aesthetics via the concept of non-photography, François Laruelle returns, having further developed his notion of a non-standard aesthetics. Published for the first time in a bilingual edition, Photo-Fiction, a Non-Standard Aesthetics expounds on Laruelle’s current explorations into a photographic thinking as an alternative to the worn-out notions of aesthetics based on an assumed domination of philosophy over art. He proposes a new philosophical photo-fictional apparatus, or philo-fiction, that strives for a discursive mimesis of the photographic apparatus and the flash of the Real entailed in its process of image making. “A bit like if an artisan, to use a Socratic example, instead of making a camera based off of diagrams found in manuals, on the contrary had as his or her project the designing of a completely new apparatus of philo-fiction, thus capable of producing not simply photos, but photo-fictions.” One must enter into a space for seeing the vectorial and the imaginary number. Laruelle’s philo-fictions become not art installations, but “theoretical installations” calling for the consideration of the possibility of a non-standard aesthetics being of an equal or superior power to art and philosophy, an aesthetics in-the-last-instance that is itself an inventive and creative act of the most contemporary kind.