"Ever since the turn of the century aesthetics has steadily gained momentum as a central field of study across the disciplines. No longer sidelined, aesthetics has grown in confidence. While this recent development brings with it a return to the work of the canonical authors (most notably Baumgarten and Kant), some contemporary scholars reject the traditional focus on epistemology and theorize aesthetics in its ontological connotations. It is according to this shift that speculative realists have proclaimed aesthetics as "first philosophy" and as speculative in nature. With speculative realism aesthetics no longer necessarily implies human agents. This is in alignment with the general speculative realist framework for thinking all kinds of processes, entities, and objects as free from our all-pervasive anthropocentrism, which states, always, that everything is "for us."This special volume of Speculations explores the ramifications of what could be termed the new speculative aesthetics. In doing so, it stages a three-fold encounter: between aesthetics and speculation, between speculative realism and its (possible) precursors, and between speculative realism and art and literature"

How to use design as a tool to create not only things but ideas, to speculate about possible futures. Today designers often focus on making technology easy to use, sexy, and consumable. In Speculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be—to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose “what if” questions that are intended to open debate and discussion about the kind of future people want (and do not want). Speculative Everything offers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more—about everything—reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures.

In Ernst Bloch’s Speculative Materialism: Ontology, Epistemology, Politics, Cat Moir offers a new interpretation of the philosophy of Ernst Bloch. The reception of Bloch’s work has seen him variously painted as a naïve realist, a romantic nature philosopher, a totalitarian thinker, and an irrationalist whose obscure literary style stands in for a lack of systematic rigour. Moir challenges these conceptions of Bloch by reconstructing the ontological, epistemological, and political dimensions of his speculative materialism. Through a close, historically contextualised reading of Bloch’s major work of ontology, Das Materialismusproblem, seine Geschichte und Substanz (The Materialism Problem, its History and Substance), Moir presents Bloch as one of the twentieth century’s most significant critical thinkers.

Recommended Reading by Warren Buffet in his March 2013 Letter to Shareholders How speculation has come to dominate investment—a hard-hitting look from the creator of the first index fund. Over the course of his sixty-year career in the mutual fund industry, Vanguard Group founder John C. Bogle has witnessed a massive shift in the culture of the financial sector. The prudent, value-adding culture of long-term investment has been crowded out by an aggressive, value-destroying culture of short-term speculation. Mr. Bogle has not been merely an eye-witness to these changes, but one of the financial sector’s most active participants. In The Clash of the Cultures, he urges a return to the common sense principles of long-term investing. Provocative and refreshingly candid, this book discusses Mr. Bogle's views on the changing culture in the mutual fund industry, how speculation has invaded our national retirement system, the failure of our institutional money managers to effectively participate in corporate governance, and the need for a federal standard of fiduciary duty. Mr. Bogle recounts the history of the index mutual fund, how he created it, and how exchange-traded index funds have altered its original concept of long-term investing. He also presents a first-hand history of Wellington Fund, a real-world case study on the success of investment and the failure of speculation. The book concludes with ten simple rules that will help investors meet their financial goals. Here, he presents a common sense strategy that "may not be the best strategy ever devised. But the number of strategies that are worse is infinite." The Clash of the Cultures: Investment vs. Speculation completes the trilogy of best-selling books, beginning with Bogle on Investing: The First 50 Years (2001) and Don't Count on It! (2011)

An examination of the new technological mediations between the human sensorium and the planetary media network and of the aesthetic as an enabler of new modes of knowledge. This series of interventions on the ramifications of Speculative Realism for aesthetics ranges from contemporary art's relation to the aesthetic, to accelerationism and abstraction, logic and design. From varied perspectives of philosophy, art, and design, participants examine the new technological mediations between the human sensorium and the massive planetary media network within which it now exists and consider how the aesthetic enables new modes of knowledge by processing sensory data through symbolic formalisms and technological devices. Speculative Aesthetics anticipates the possibility of a theory and practice no longer invested in the otherworldly promise of the aesthetic, but acknowledging the real force and traction of images in the world today, experimentally employing techniques of modelling, formalisation, and presentation so as to simultaneously engineer new domains of experience and map them through a reconfigured aesthetics that is inseparable from its sociotechnical conditions.

John Bogle puts our obsession with financial success in perspective Throughout his legendary career, John C. Bogle-founder of the Vanguard Mutual Fund Group and creator of the first index mutual fund-has helped investors build wealth the right way and led a tireless campaign to restore common sense to the investment world. Along the way, he's seen how destructive an obsession with financial success can be. Now, with Enough., he puts this dilemma in perspective. Inspired in large measure by the hundreds of lectures Bogle has delivered to professional groups and college students in recent years, Enough. seeks, paraphrasing Kurt Vonnegut, "to poison our minds with a little humanity." Page by page, Bogle thoughtfully considers what "enough" actually means as it relates to money, business, and life. Reveals Bogle's unparalleled insights on money and what we should consider as the true treasures in our lives Details the values we should emulate in our business and professional callings Contains thought-provoking life lessons regarding our individual roles in society Written in a straightforward and accessible style, this unique book examines what it truly means to have "enough" in world increasingly focused on status and score-keeping.

The exchange rate for the Lebanese pound experienced a protracted period of depreciation from end-1982 to November 1987, followed by a marked appreciation over the following six months. This paper investigates the competing hypotheses that the exchange rate over these two periods was driven by a speculative bubble versus “fundamental” economic variables. Reduced-form and time series models for the exchange rate are estimated and tested for nonstationarity. The results of these test suggest that the pound’s volatility in recent years was consistent with an excessive growth in domestic versus foreign currency denominated liquidity rather than speculation.

What is the difference between a gambler and a speculator? Is there a readily identifiable line separating the two? If so, is it possible for us to discourage the former while encouraging the latter? These difficult questions cut across the entirety of American economic history, and the periodic failures by regulators to differentiate between irresponsible gambling and clear-headed investing have often been the proximate causes of catastrophic economic downturns. Most recently, the blurring of speculation and gambling in U.S. real estate markets fueled the 2008 global financial crisis, but it is one in a long line of similar economic disasters going back to the nation's founding. In Speculation, author Stuart Banner provides a sweeping and story-rich history of how the murky lines separating investment, speculation, and outright gambling have shaped America from the 1790s to the present. Regulators and courts always struggled to draw a line between investment and gambling, and it is no easier now than it was two centuries ago. Advocates for risky investments have long argued that risk-taking is what defines America. Critics counter that unregulated speculation results in bubbles that always draw in the least informed investors-gamblers, essentially. Financial chaos is the result. The debate has been a perennial feature of American history, with the pattern repeating before and after every financial downturn since the 1790s. The Panic of 1837, the speculative boom of the roaring twenties, and the real estate bubble of the early 2000s are all emblematic of the difficulty in differentiating sober from reckless speculation. Even after the recent financial crisis, the debate continues. Some, chastened by the crash, argue that we need to prohibit certain risky transactions, but others respond by citing the benefits of loosely governed markets and the dangers of over-regulation. These episodes have generated deep ambivalence, yet Americans' faith in investment and - by extension - the stock market has always rebounded quickly after even the most savage downturns. Indeed, the speculator on the make is a central figure in the folklore of American capitalism. Engaging and accessible, Speculation synthesizes a suite of themes that sit at the heart of American history - the ability of courts and regulators to protect ordinary Americans from the ravages of capitalism; the periodic fallibility of the American economy; and - not least - the moral conundrum inherent in valuing those who produce goods over those who speculate, and yet enjoying the fruits of speculation. Banner's history is not only invaluable for understanding the fault lines beneath the American economy today, but American identity itself.

Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction – particularly photography – but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.