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By Roberto Esposito

Roberto Esposito is among the such a lot prolific and demanding exponents of up to date Italian political thought. Bíos-his first e-book to be translated into English-builds on twenty years of extremely popular concept, together with his thesis that the trendy individual-with all of its civil and political rights in addition to its ethical powers-is an try to reach immunity from the contagion of the extraindividual, specifically, the neighborhood.

In Bíos, Esposito applies any such paradigm of immunization to the research of the novel transformation of the political into biopolitics. Bíos discusses the origins and meanings of biopolitical discourse, demonstrates why not one of the different types of recent political suggestion turns out to be useful for thoroughly greedy the essence of biopolitics, and reconstructs the destructive biopolitical center of Nazism. Esposito means that the simplest modern reaction to the present lethal model of biopolitics is to appreciate what can make up the weather of a good biopolitics-a politics of existence instead of a politics of mastery and negation of life.

In his advent, Timothy Campbell situates Esposito’s arguments inside American and eu pondering on biopolitics. A finished, illuminating, and hugely unique remedy of a severely vital subject, Bíos introduces an English-reading public to a philosophy that may severely influence such wide-ranging present debates as stem mobile learn, euthanasia, and the struggle on terrorism.

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Extra resources for Bios: Biopolitics and Philosophy (Posthumanities)

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The monkeys’ activities were translated to a computer environment, producing live updates published on the Web alongside a webcam view of the production scene showing the creative activity in its fuller context. The context included not only the monkeys’ gradual interest and facility in manipulating the keyboard but also their naturalization of the writing process in the corporeal procedures of everyday life as they alternately ate and defecated on the keyboard (foul papers now modernized into soiled keys).

32 In providing an alternative to Godard’s preference for cinematic “sense and direction,” Greenaway and Chris Marker will be shown to join a variety of new media artists who articulate a sense and direction for the screen arts in the age of new media. My hope is that this book’s consideration of a wide range of approaches to new media screen arts, from those of Mona Hatoum, Nam June Paik, Bill Viola and Keith Piper to Perry Hoberman, Norie Neumark, Renate Ferro, David Rokeby, and Jill Scott, will enliven the new media community’s interest in and commitment to maintaining a critical engagement with the Digital Baroque.

20 A reader who is drawn to this machinic legacy of labyrinthine vision might appreciate, for instance, the recombinant conceit of the capped bust in Portrait of a Young Man whose perspective shifts with the movement of the cursor. Resembling the prototypical Phrygian cap, this awkward object of curious perspective might well function precisely like the Holbeinian apparatus of the anamorphic skull that summons and thereby arrests the self-confident patriarchal gaze in the annihilation of subjectivity.

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