This book provides a theoretical framework for understanding the micropolitics of speed; a rich, nuanced, and embodied account of life in an accelerating world. What does it feel like to live in an era of profound social acceleration? What kinds of affects, perceptions, and identities does an accelerating world produce? The answers to these questions mean more than simply understanding the psychology of speed; they also mean understanding issues in contemporary politics as diverse as xenophobia and anti-immigration policies, patterns of transnational identification and solidarity, social isolation and alienation, and the ability of new media to coordinate social movements. While drawing extensively on the work of contemporary theorists, Simon Glezos recognizes that social acceleration is not a purely recent phenomenon. He therefore turns to thinkers such as Nietzsche, Spinoza, Bergson, and Merleau-Ponty, to ask how they sought to understand, and respond to, the rapid changes and unsettling temporalities of their eras, and how their insights can be applied to our own. Advancing theoretical understanding and offering a useful way to analytically conceptualize the nature of time, Speed and Micropolitics will be of interest to students and scholars studying affect theory, theories of the body, new materialism, phenomenology, as well as the history of political thought.

This book focuses on the micro-political implications of the work of Gilles Deleuze (and Félix Guattari). General philosophical articles are coupled to more specific analyses of films (such as Fight Club and Schindler's List) and other expressions of contemporary culture. The choice of giving specific attention to the analyses of images and sounds is not only related to the fact that audiovisual products are increasingly dominant in contemporary life, but also to the fact that film culture in itself is changing ("in transition") in capitalist culture. From a marginal place at the periphery of economy and culture at large, audiovisual products (ranging from art to ads) seem to have moved to the centre of the network society, as Manuel Castells calls contemporary society. Typical Deleuzian concepts such as micro-politics, the Body without Organs, becoming-minoritarian, pragmatics and immanence are explored in their philosophical implications and political force, whether utopian or dystopian. What can we do with Deleuze in contemporary media culture? A recurring issue throughout the book is the relationship between theory and practice, to which several solutions and problems are given.

What is the relation between the economy, or the mode of production, and culture, beliefs, and desires? How is it possible to think of these relations without reducing one to the other, or effacing one for the sake of the other? To answer these questions, The Micro-Politics of Capital re-reads Marx in light of the contemporary critical interrogations of subjectivity in the works of Althusser, Deleuze, Guattari, Foucault, and Negri. Jason Read suggests that what characterizes contemporary capitalism is the intimate intersection of the production of commodities with the production of desire, beliefs, and knowledge.

Temporal Regimes provides a theoretical framework for understanding the temporal structures of society; a conceptually rich, empirically nuanced and culturally embodied account of temporal phenomena in contemporary world. What does it imply temporal regimes? How the everyday life as well as the global mobilities coordination requires temporal underpinnings? The answers to these questions mean more than simply understanding the general thesis on acceleration or space-time compression on the one hand; but also, a micro-multiple-localised time experience by gender, class or age, on the other. They also mean understanding in an integrative way the very structural temporalities within the everyday lived, embodied and situated ones. They require both a robust and flexible epistemic analysis considering their material bedrock through political and technological forefront dimensions. Advancing a rigorous, well-grounded theoretical understanding, and offering a useful way to analytically conceptualise the temporal dynamics on our societies, this book will be of interest to advanced students and scholars enquiring a rich set of topics ranging from time and politics, new materialism, conceptual history as well as technology, collective action and social change.

Why would a political theorist venture into the nexus between neuroscience and film? According to William Connolly -- whose new book is itself an eloquent answer -- the combination exposes the ubiquitous role that technique plays in thinking, ethics, and politics. By taking up recent research in neuroscience to explore the way brain activity is influenced by cultural conditions and stimuli such as film technique, Connolly is able to fashion a new perspective on our attempts to negotiate -- and thrive -- within a deeply pluralized society whose culture and economy continue to quicken. In Neuropolitics Connolly draws upon recent brain/body research to explore the creative potential of thinking, the layered character of culture, the cultivation of ethical sensibilities, and the critical role of technique in all three. He then shows how a series of films -- including Vertigo, Five Easy Pieces, and Citizen Kane -- enhances our appreciation of technique and contests the linear image of time now prevalent in cultural theory. Connolly deftly brings these themes together to support an ethos of deep pluralism within the democratic state and a politics of citizen activism across states. His book is an original and rigorous study that attends to the creative possibilities of thinking in identity, culture, and ethics.

Patricia S. Mann explains our current period as a time of social transformation resulting from an 'unmooring' of women, men, and children from the nuclear family, gender relations having replaced economic relations as the primary site of social tension and change in our lives.

This handbook gathers contributors from different disciplines of the social sciences, such as organization and management studies, sociology, anthropology and political science, to constructively discuss the kinds of transformations we need to see in coming years. These transformations concern the way we work, produce and consume but also the way in which we think about work, production and consumption. In an explicit rejection of the demand that the social sciences provide quick fixes, the contributors of this handbook discuss possible solutions in a critical and comprehensive manner and with an eye to both their environmental and societal implications. The handbook is divided into four parts: Opening up futures, Techno-economic transformations at work, Sustainable environmental transformation, and Radical democratic futures. The handbook is of interest to all critical academics interested in constructive suggestions regarding necessary societal transformations.

This book examines the complex relations between technoscience and everyday life. It draws on numerous examples, including both mundane technologies such as Velcro, Post-it Notes, mobile phones and surveillance cameras, and the esoterica of xenotransplantation, new genetics, nanotechnology and posthuman society.

Why would a political theorist venture into the nexus between neuroscience and film? According to William Connolly -- whose new book is itself an eloquent answer -- the combination exposes the ubiquitous role that technique plays in thinking, ethics, and politics. By taking up recent research in neuroscience to explore the way brain activity is influenced by cultural conditions and stimuli such as film technique, Connolly is able to fashion a new perspective on our attempts to negotiate -- and thrive -- within a deeply pluralized society whose culture and economy continue to quicken. In Neuropolitics Connolly draws upon recent brain/body research to explore the creative potential of thinking, the layered character of culture, the cultivation of ethical sensibilities, and the critical role of technique in all three. He then shows how a series of films -- including Vertigo, Five Easy Pieces, and Citizen Kane -- enhances our appreciation of technique and contests the linear image of time now prevalent in cultural theory. Connolly deftly brings these themes together to support an ethos of deep pluralism within the democratic state and a politics of citizen activism across states. His book is an original and rigorous study that attends to the creative possibilities of thinking in identity, culture, and ethics.