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A series of dialogues with the most exciting and controversial German philosopher writing today.

How the work of Israeli writers today reflects the foundation myths of a Jewish state.The idea of the Jewish nation was conceived before the organization of the Zionist movement in the nineteenth century and continued long after the creation of the state of Israel. In The Words and the Land, post-Zionist Israeli historian Shlomo Sand examines how both Jewish and Israeli intellectuals contributed to this process. One by one, he identifies and calls into question the foundation myths of the Israeli state, beginning with the myth of a people forcibly uprooted, a people-race that began to wander the world in search of a land of asylum. This was a people that would define itself on a biological and "mythological-religious” basis, embodied in words that today feed Israeli political, literary, and historical writing: "exile,” "return,” and "ascent” (Alyah) to the land of its origins.Since 1948, most intellectuals in Israel have continued to accept this ethno-national image and embrace an exclusive state identity to which only Jewish people can belong. The first challenges to this dominant idea didn't appear in Israel until the 1980s, in the innovative work of the "post-Zionist” historians, who were bent on dismantling the nationalist historical myth and arguing for a state that would belong equally to all its citizens. Analyzing how Israeli intellectuals positioned themselves during the Gulf War and in the new era of communication technologies, Sand extends his analysis globally, looking at the status of intellectuals in all societies.

Exit strategies from the current financial crisis that may lead us toward a new horizon of constructing the common.

Nonfiction. Political Science. Criticism and Theory. REVOLUTIONARY WRITING comprises fourteen radical essays in "open" or "autonomous" Marxism, subverting (by critiquing) the typical concept of the political, and examining the current configurations of the insurrection of global labor against global capital--culled from the now-defunct British neo-Marxist journal Common Sense, published between 1987 and 1999. Its contributors include John Holloway, Johannes Agnoli, Harry Cleaver, Werner Bonefeld, Ferruccio Gambino, George Caffentzis, Mariarosa Dalla Costa, Antonio Negri, and Mike Rooke.

A poet and post-punk heroine writes on subjects ranging from Björk to Robert Smithson, from traveling in Iceland to walking in Thoreau's footsteps on Cape CodPoet and post-punk heroine Eileen Myles has always operated in the art, writing, and queer performance scenes as a kind of observant flaneur. Like Baudelaire's gentleman stroller, Myles travels the city—wandering on garbage-strewn New York streets in the heat of summer, drifting though the antiseptic malls of La Jolla, and riding in the van with Sister Spit—seeing it with a poet's eye for detail and with the consciousness that writing about art and culture has always been a social gesture. Culled by the poet from twenty years of art writing, the essays in The Importance of Being Iceland make a lush document of her—and our—lives in these contemporary crowds. Framed by Myles's account of her travels in Iceland, these essays posit inbetweenness as the most vital position from which to perceive culture as a whole, and a fluidity in national identity as the best model for writing and thinking about art and culture. The essays include fresh takes on Thoreau's Cape Cod walk, working class speech, James Schulyer and Björk, queer Russia and Robert Smithson; how-tos on writing an avant-garde poem and driving a battered Japanese car that resembles a menopausal body; and opinions on such widely ranging subjects as filmmaker Sadie Benning, actor Daniel Day-Lewis, Ted Berrigan's Sonnets, and flossing.

A philosopher and art theorist extends the poststructuralist theory of revolution to the nexus of art and activism.Gerald Raunig has written an alternative art history of the "long twentieth century,” from the Paris Commune of 1871 to the turbulent counter-globalization protests in Genoa in 2001. Meticulously moving from the Situationists and Sergei Eisenstein to Viennese Actionism and the PublixTheatreCaravan, Art and Revolution takes on the history of revolutionary transgressions and optimistically charts an emergence from its tales of tragic failure and unequivocal disaster. By eloquently applying Deleuze and Guattari's idea of the "machine,” Raunig extends the poststructuralist theory of revolution through to the explosive nexus of art and activism. As hopeful as it is incisive, Art and Revolution encourages a new generation of artists and thinkers to refuse to participate in the tired prescriptions of marketplace and authority and instead create radical new methods of engagement. Raunig develops an indispensable, contemporary conception of political change—a conception that transcends the outmoded formulations of insurrection and resistance. Too much blood and ink has been shed for the art machines and the revolutionary machines to remain separate. Gerald Raunig is a philosopher and art theorist who lives in Vienna, Austria.

Previously unpublished plays and writings by one of today's foremost satirical authors.

Baudrillard's remarkably prescient meditation on terrorism throws light on post-9/11 delusional fears and political simulations.

Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes "War Porn," on Abu Ghraib as a new genre of reality TV.The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the "end of art," Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has become transaesthetic, like society as a whole. Conceived and edited by life-long Baudrillard collaborator Sylvère Lotringer, The Conspiracy of Art presents Baudrillard's writings on art in a complicitous dance with politics, economics, and media. Culminating with "War Porn," a scathing analysis of the spectacular images from Abu Ghraib prison as a new genre of reality TV, the book folds back on itself to question the very nature of radical thought.

Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers (the army) are nomads who always come from the outside and keep threatening the authority of the state.In this daring essay inspired by Nietzsche, Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers (the army) are nomads who always come from the outside and keep threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power and "schizophrenic lines of flight," this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways. Deleuze and Guattari propose a creative and resistant ethics of becoming-imperceptible, strategizing a continuous invention of weapons on the run. An anarchic bricolage of ideas uprooted from anthropology, aesthetics, history, and military strategy, Nomadology carries out Deleuze's desire to "leave philosophy, but to leave it as a philosopher."

Leash extends the logic of S&M to its inexorable and startling conclusion, darkly and hilariously revealing the masochistic impulse as the urge to disappear from the chores, obligations, and emotional vacuity of daily life.