A rigorous new thinking of the photograph in its relation to science, philosophy, and art, so as to discover an essence of photography that precedes its historical, technological, and aesthetic conditions. If philosophy has always understood its relation to the world according to the model of the instantaneous flash of a photographic shot, how can there be a “philosophy of photography” that is not viciously self-reflexive? Challenging the assumptions made by any theory of photography that leaves its own “onto-photo-logical” conditions uninterrogated, Laruelle thinks the photograph non-philosophically, so as to discover an essence of photography that precedes its historical, technological and aesthetic conditions. The Concept of Non-Photography develops a rigorous new thinking of the photograph in its relation to science, philosophy, and art, and introduces the reader to all of the key concepts of Laruelle's “non-philosophy.”

This anthology offers a fresh approach to the philosophical aspects of photography. The essays, written by contemporary philosophers in a thorough and engaging manner, explore the far-reaching ethical dimensions of photography as it is used today. A first-of-its-kind anthology exploring the link between the art of photography and the theoretical questions it raises Written in a thorough and engaging manner Essayists are all contemporary philosophers who bring with them an exceptional understanding of the broader metaphysical issues pertaining to photography Takes a fresh look at some familiar issues - photographic truth, objectivity, and realism Introduces newer issues such as the ethical use of photography or the effect of digital-imaging technology on how we appreciate images

With newly commissioned essays by some of the leading writers on photography today, this companion tackles some of the most pressing questions about photography theory’s direction, relevance, and purpose. This book shows how digital technologies and global dissemination have radically advanced the pluralism of photographic meaning and fundamentally transformed photography theory. Having assimilated the histories of semiotic analysis and post-structural theory, critiques of representation continue to move away from the notion of original and copy and towards materiality, process, and the interdisciplinary. The implications of what it means to ‘see’ an image is now understood to encompass, not only the optical, but the conceptual, ethical, and haptic experience of encountering an image. The 'fractal' is now used to theorize the new condition of photography as an algorithmic medium and leads us to reposition our relationship to photographs and lend nuances to what essentially underlies any photography theory — that is, the relationship of the image to the real world and how we conceive what that means. Diverse in its scope and themes, The Routledge Companion to Photography Theory is an indispensable collection of essays and interviews for students, researchers, and teachers. The volume also features extensive images, including beautiful colour plates of key photographs.

Media philosopher Vilém Flusser proposed a revolutionary new way of thinking about photography. An analysis of the medium in terms of aesthetics, science and politics provided him with new ways of understanding both the cultural crises of the past and the new social forms nascent within them. Flusser showed how the transformation of textual into visual culture (from the linearity of history into the two-dimensionality of magic) and of industrial into post-industrial society (from work into leisure) went hand in hand, and how photography allows us to read and interpret these changes with particular clarity.

The first collection of critical essays on the work of this most original thinker. Francois Laruelle is one of the most important French philosophers of the last 20 years, and as his texts have become available in English there has been a rising tide of interest in his work, particularly on the concept of 'Non-Philosophy'. Non-philosophy radically rethinks many of the most cutting-edge concepts such as immanence, pluralism, resistance, science, democracy, decisionism, Marxism, theology and materialism. It also expands our view of what counts as philosophical thought, through art, science and politics, and beyond to fields as varied as film, animality and material objects.

This book examines the relevance of François Laruelle’s innovative notion of non-standard philosophy to critical and constructive discourses in the humanities, bringing together essays from prominent Anglophone scholars of Laruelle’s work and includes a contribution from Laurelle himself.

Laruelle is one of the first books in English to undertake in an extended critical survey of the work of the idiosyncratic French thinker François Laruelle, the promulgator of non-standard philosophy. Laruelle, who was born in 1937, has recently gained widespread recognition, and Alexander R. Galloway suggests that readers may benefit from colliding Laruelle’s concept of the One with its binary counterpart, the Zero, to explore more fully the relationship between philosophy and the digital. In Laruelle, Galloway argues that the digital is a philosophical concept and not simply a technical one, employing a detailed analysis of Laruelle to build this case while referencing other thinkers in the French and Continental traditions, including Alain Badiou, Gilles Deleuze, Martin Heidegger, and Immanuel Kant. In order to explain clearly Laruelle’s concepts such as the philosophical decision and the principle of sufficient philosophy, Galloway lays a broad foundation with his discussions of “the One” as it has developed in continental philosophy, the standard model of philosophy, and how philosophers view “the digital.” Digital machines dominate today’s world, while so-called digital thinking—that is, binary thinking such as presence and absence or self and world—is often synonymous with what it means to think at all. In examining Laruelle and digitality together, Galloway shows how Laruelle remains a profoundly non-digital thinker—perhaps the only non-digital thinker today—and engages in an extensive discussion on the interconnections between media, philosophy, and technology.

Ideology and Interpellation examines the relation between ideology, the humanist subject, interpellation, and the role of theory. Placing the work of Althusser, Rancière, Baudrillard, and Laruelle into dialogue, this book offers a useful starting point for understanding the demands and possibilities for ideological critique after the deconstruction of the subject. With chapters devoted to each French theorist's critique, the book first examines the historical and political roots of Althusser's theory of ideology, then placing focus on Rancière's historiographic work in the following chapter. Coming hot on the heels of his blistering critique of his teacher, Althusser, in Althusser's Lesson, Rancière argues that reformers' failure to “interpellate” or recruit workers was due to their work-centric attitude and failure to understand the workers' dreams of lives devoted to unwaged aesthetic and philosophical labour. The fifth chapter shows how Baudrillard disrupts Althusser's fundamental belief that ideology can be unmasked to reveal true structures, by exposing how a society of simulation realizes the untrue by integrating it into the fabric of experience. Finally, Fardy explores how Laruelle calls into question Althusser's presumption that “standard philosophy” is sufficiently guarded against the lures of ideology. On the contrary, Laruelle suggests that this view is in fact that of the ideology of standard philosophy. Shedding light on the continuing relevance of post-Althusserian Marxist thought, Ideology and Interpellation further demonstrates the need today for a rigorous theory of ideology, traces of which can be found in Althusser's legacy.

In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history, and technique to bring photographic education up to date with contemporary photographic practice. --

How EU data practices establish and assign people to categories, and how this matters in enacting--"making up"--Europe as a population and people. What is "Europe" and who are "Europeans"? Data Practices approaches this contemporary political and theoretical question by treating it as a practical problem of counting. Only through the myriad data practices that make up methods such as censuses can EU member states know their national populations, and this in turn is utilized by the EU to understand the population of Europe. But this volume approaches data practices not simply as reflecting populations but as performative in two senses: they simultaneously enact--that is, "make up"--a European population and, by so doing--intentionally or otherwise--also contribute to making up a European people. The book develops a conception of data practices to analyze and interpret findings from collaborative ethnographic multisite fieldwork conducted by an interdisciplinary team of social science researchers as part of a five-year project, Peopling Europe: How Data Make a People. The book focuses on data practices that involve establishing and assigning people to categories and how this matters in enacting Europe as a population and people. Five core chapters explore key categories of people--usual residents, refugees, homeless people, migrants, and ethnic minorities--and how they come into being through specific data practices such as defining, estimating, recalibrating and inferring. Two additional chapters address two key subject positions that data practices produce and require: the data subject and the statistician subject.