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The Nabokov Effect attends to the 'lettrocalamity' that occurs when literature and cinema collide in Vladimir Nabokov's work. Sigi Jöttkandt suspends the long-held critical investment in Nabokov's authorial control to focus on another principle of representational agency making incursions into his books. Tracing the subterranean network of cross-lingual puns, homophonies, and technical overflows of writing to a cinaesthetic signature system, Jöttkandt recasts the vexed question of Nabokov's relation to psychoanalysis.A pioneer of too-close reading, Nabokov offers himself, Jöttkandt argues, as the tipping point of perceptual and epistemological systems that are in the process of devouring themselves. The ensuing 'Nabokov effect' is both an assault on teleological models and an opening onto other forms of reading and listening, which Jöttkandt argues was always latent in psychoanalysis. In this book, Nabokov emerges as the writer for humanity's endgame, architect of a post- interpretive complex that opens up broader questions concerning our ability to read him or, indeed any writer, today.

Humanity now faces the possibility that it will become extinct over the next few decades or so. This is not simply a reality about the biological fate of the species; it also raises the prospect of thought's own extinction. But what does it mean for thought that it, too, might disappear?Thought's possible disappearance shatters the assumption, at work across all the institutions and disciplines of the West, that one version or another of thought is enduring and will survive. As it turns out, no familiar practice rests on a secure ground; under the sign of the terminus - the prospect of humanity's extinction - each one is shattered and undone. The cultural legacy becomes a field of rubble.In dozens of short essays, The Rubble of Culture moves through this field. It takes up a host of specific inheritances and traces how each is shattered and transformed by an extinct thought. It engages with religion, philosophy, history, literature, ethics, studies of political power and resistance, and depictions of humanity's place in the nonhuman world. It reconsiders the emergence of capitalism and of biopower, the science of climate change, the import of mediation and technology, and philosophies of temporality. Moreover, it contends with many innovative waves of thought over the past two centuries, from German idealism to deconstruction, from psychoanalysis to queer theory, from decolonizing theory to Afropessimism, and from the critique of ideology to speculative realism. It concludes by assessing what it is like for thought, having confronted its extinction, to live on in this debris, to dance with its own oblivion.

Asking is one of the simplest and most familiar of human actions, and has a right to be thought of as single most powerful and most variously cohering form of social-symbolic gesture. Because so much is at stake in the act of asking, asking, or asking for, almost anything, whether information, help, love or respect, can be asking for trouble, so a great deal of care must be taken with the ways in which asking occurs and is responded. A History of Asking is the first attempt to grasp the unity and variety of the technics and technologies of asking, in all its modalities, as they extend across a spectrum from weak forms like begging, pleading, praying, imploring, beseeching, entreating, suing, supplicating and soliciting, through to the more assertively and even aggressively self-authorising modes of asking, like proposing, offering, inviting, requesting, appealing, applying, petitioning, claiming and demanding. The book considers the history of 6 broad modes of petitory practice. The act of begging, both among animals and humans is considered in terms of its theatrics. The institution of the political petition, protocols for which seem to arise in also every system of government of which we have knowledge, is tracked through from late medieval to nineteenth-century Britain. The act of prayer, central to religious practice, though often the last form of religious behaviour to fall away among those lapsing from adherence, and one of the religious practices that is most likely to be adhered to in the absence of any other religious commitment, is the subject of sustained scrutiny. The appeal of prayer is essentially to the fact of participation in language, and the specific forms of commitment to the condition of being bound, bindable, or biddable by it. Wooing and the associated economics of seduction and solicitation are tracked through from the formalisation of the conventions of courtly love in the 12th century through to modern techniques of flirtation. The book revives the antique term 'suitage' in order to discuss all the forms of sueing and suitorship for favours or advantage, as well as, more broadly the act, pursued almost life-long, of trying to get one another to do things for us, in particular in indirect or vicarious forms of what may be called 'interpetition', such as the dedications of books to patrons, the institution of the testimonial or letter of reference and the practices of flattery. A History of Asking concludes with a discussion of the many ways in which our necessarily parasitic relations on each other in a complex society are both conveyed and dissimulated, especially through the ways in which we summon and salute different kinds of service.

Fabricating Publics explores how cultural practitioners and institutions perceive their role in the post-truth era by repositioning their work in relation to the notion of the "public". The book addresses the multiple challenges posed for artists, curators and cultural activists by the conditions of post-factuality: Do cultural institutions have the practical means and the ethical authority to fight against the proliferation of "alternative facts" in politics, as well as within all aspects of our lives? What narratives of dissent are cultural practitioners developing, and how do they choose to communicate them? Could new media technologies still be considered as instruments of democratizing culture, or have they been irrevocably associated with 'empty' populism? Do "counter-publics" exist and, if yes, how are they formed? In the end, is "truth" a notion that could be reclaimed through contemporary culture?

The great acceleration that has become known as the Anthropocene has brought with it destructive consequences that threaten to give rise to a dangerous and potentially explosive convergent reaching of limits, not just climatically or biospherically, but psychosocially. This convergence demands a new kind of thinking and a reconsideration of fundamental philosophical, political and economic theory in light especially of the age of computational capitalism, in order to prevent this convergence from becoming absolutely catastrophic. The French philosopher Bernard Stiegler argued that the basis for such a reconsideration must be, in a very general way, the thought of entropy. Psychopolitical Anaphylaxis examines, draws on, and dialogues with Stiegler's work, and aims to take steps towards this new kind of thinking. Borrowing also from Georges Canguilhem and Peter Sloterdijk, among others, it argues for an immunological perspective that sees psychopolitical convulsions as a kind of anaphylactic shock that threatens to prove fatal. The paradox that ultimately must be confronted in the Anthropocene - conceived as an Entropocene - is the contradiction between the urgent need for a global emergency procedure and the equally necessary task of finding the time to carefully rethink our way beyond this anaphylaxis. In this book, Daniel Ross argues that the task of thinking today must be to inhabit this paradox and make it the basis of a new dynamic.

To 'articulate' media means to understand them by locating their connections in space and time. Articulating Media offers new approaches to the writing of technology and the technologies of writing by twinning an investigation of language with an attention to location. Where does media theory take place? How should media theory understand its own occupation of the spaces of media? What materialities might survive media's many articulations and associations?Diverse in topic and method, the collection's nine chapters analyse those questions of value, representation, and categorisation that are held within the languages of media. Contributors consider media technologies - following previous volumes in the Technographies series - not as mute objects addressed through language, but as processes and devices situated in the very grammars and vocabularies of their address. Scholars of literature, film, musicology, art, design theory, and media history evaluate new linguistic possibilities for thinking across disciplines and for considering the significance of location to media-critical writing. Collectively, the book traces the ways in which media vernaculars have shaped the vernaculars of media theory, and proposes a few ways in which we might reshape them. With essays by Bernhard Siegert, Melle Jan Kromhout, Bernard Geoghegan, Louise Shen, Caroline Bassett, Emma McCormick-Goodhart, Renee A. Farra, Rebecca Ross, and Jussi Parikka.

Glitches are errors where the digital bursts into our everyday lives as fragmented image, garbled text and aberrant event. In this book, Nathan Jones shows how writers work with the glitch as a literary effect. 'Glitch poetics' describes a new language of error in literary and media arts: a way to write the breakage, corruption and crisis of the present moment. Based on a range of close readings of contemporary literature by writers including Linda Stupart, Keston Sutherland, Ben Lerner, Caroline Bergvall, Erica Scourti, and the internet novelists, Jones lays the groundwork for writing that can productively engage in current thinking around AI, the Anthropocene, critical posthumanism and code.

The collective work that produced this book is based on the claim that today's destructive development model is reaching its ultimate limits, and that its toxicity, which is increasingly massive, manifest and multidimensional (medical, environmental, mental, epistemological, economic - accumulating pockets of insolvency, which become veritable oceans), is generated above all by the fact that the current industrial economy is based in every sector on an obsolete physical model - a mechanism that ignores the constraints of locality in biology and the entropic tendency in reticulated computational information. In these gravely perilous times, we must bifurcate: there is no alternative.

Object-oriented ontology (OOO) asks us to suspend our modern preconceptions and treat epistemic processes as something that happens not just when human thought meets the world, but even when objects meet each other. Such confrontations between object and object produce new, stable, and emer- gent objects that fully deserve to be called real. But does OOO go too far in treating objects as self-enclosed units, without full acceptance of the relational side of their being? Laying new emphasis on the way that objects support each other, Gabriel Yoran introduces his challenging notion of "the interfact."

The time of hypersubjects is ending. Their desert-apocalypse-fire-and-death cults aren't going to save them this time. Meanwhile the time of hyposubjects is just beginning. This text is an exercise in chaotic and flimsy thinking that will possibly waste your time. But it is the sincere effort of two reform-minded hypersubjects to decenter themselves and to help nurture hyposubjective humanity. Here are some of the things we say in this book: 1) Hyposubjects are the native species of the Anthropocene and are only just now beginning to discover what they might be and become. 2) Like their hyperobjective environment, hyposubjects are also multiphasic and plural: not-yet, neither here nor there, less than the sum of their parts. They are, in other words, subscendent (moving toward relations) rather than transcendent (rising above relations). They do not pursue or pretend to absolute knowledge or language, let alone power. Instead they play; they care; they adapt; they hurt; they laugh. 3) Hyposubjects are necessarily feminist, colorful, queer, ecological, transhuman, and intrahuman. They do not recognize the rule of androleukoheteropetromodernity and the apex species behavior it epitomizes and reinforces. But they also hold the bliss-horror of extinction fantasies at bay, because hyposubjects' befores, nows, and afters are many. 4) Hyposubjects are squatters and bricoleuses. They inhabit the cracks and hollows. They turn things inside out and work miracles with scraps and remains. They unplug from carbon gridlife; they hack and redistribute its stored energies for their own purposes. 5) Hyposubjects make revolutions where technomodern radars can't glimpse them. They patiently ignore expert advice that they do not or cannot exist. They are skeptical of efforts to summarize them, including everything we have just said.

Deterritorializing the Future places concepts of heritage at the centre of the Anthropocene - not as nostalgic longing for how things were, but to think critically and speculatively about alternative futures.

Can computers be creative? Is algorithmic art just a form of Candy Crush? Cutting through the smoke and mirrors surrounding computation, robotics and artificial intelligence, Joanna Zylinska argues that, to understand the promise of AI for the creative fields, we must not confine ourselves solely to the realm of aesthetics. Instead, we need to address the role and position of the human in the current technical setup - including the associated issues of labour, robotisation and, last but not least, extinction. Offering a critique of the socio-political underpinnings of AI, AI Art: Machine Visions and Warped Dreams raises poignant questions about the conditions of art making and creativity today.The book critically examines artworks that use AI, be it in the form of visual style transfer, algorithmic experiment or critical commentary. It also engages with their predecessors, including robotic art and net art. AI Art includes a project from Zylinska's own art practice titled 'View from the Window', which explores human and nonhuman forms of intelligence, perception and action. The book closes with speculation on future art - and on art's future.

In Ways of Following, Katve-Kaisa Kontturi offers rare, intimate access to artists' studios and exhibitions, where art processes thrive in their material-relational becoming. The book argues for an ethical and affirmative mode of engaging with contemporary art that replaces critical distance with sensuous and transformative proximity. From writing-with to dancing and breathing, from conversations to modelling, Kontturi maps ways of following that make the moving materiality of art intensively felt. Drawing on long-term engagements with selected contemporary artists and their art-in-process, Kontturi expands the concept and practice of collaboration from human interactions to working with, and between, materials. With this shift, Ways of Following radically rethinks such core tenets of art theory as intention, artistic influences and the autonomy of art, bringing new urgency to the work of art and its political capacity to propose new ways of being and thinking.

Executing Practices brings together artists, curators, programmers, theorists and heavy internet browsers, all of whose work makes a critical intervention in the broad concept of execution. It draws attention to their political strategies, asking who and what is involved with those practices, and for whom or what are these practices performed, and how? From the contestable politics of emoji modifier mechanisms and micro-temporalities of computational processes, to genomic exploitation and the curating of digital content, the chapters account for gendered, racialized, spatial, violent, erotic, artistic and other embedded forms of execution. Together they highlight a range of ways in which execution emerges and how it participates within networked forms of liveliness.

In Practicing Relativism in the Anthropocene, Barbara Herrnstein Smith addresses a set of contemporary issues involving knowledge and science from a constructivist-pragmatist perspective often labeled "relativism." Practicing that relativism, she argues, does not mean refusing judgment or asserting absurdities but being conscious of the existence and significance of contingency, complexity, and multiplicity. Rejecting classic and neorealist views of knowledge and human cognition, Smith describes important alternative accounts in cognitive theory, science studies, and contemporary philosophy of mind. The "relativism" commonly associated with these alternative accounts, she maintains, is a chimera-part straw man, part red herring. Objections to the position so named typically involve crucially improper paraphrase of empirical observations of variability and contingency or dismaying inferences improperly drawn from such observations. In an extended examination of recent writings by Bruno Latour, Smith indicates the increasing centrality of theological investments in his work and both the interest of those writings but also their limits for humanities scholars seeking to appropriate them. Discussing computational methods in literary studies, she describes how the idea of "close reading" has operated historically in the Anglo-American literary academy and how it figures now in the discourses of the digital humanities. Efforts to make the aims and methods of the humanities more scientific, she suggests, typically involve ill-informed or otherwise dubious conceptions of science. What distinguishes the humanities and the natural sciences, she argues, are neither subject areas nor methods as such but fundamental epistemic orientations. Declining calls to reaffirm or rehabilitate philosophical realism in the face of denials of climate change, Smith maintains that the most illuminating perspectives for conceptualization and practice in the Anthropocene are precisely those labeled, but commonly mischaracterized as, "relativist."

Adam Wickberg's Pellucid Paper is an interdisciplinary study of the materiality of Early Modern poetry and its relation to political power, memory and subject constitution. The book explores the broad media history in which some of the most canonical Spanish Golden Age poetry was produced. It departs from the intersection of media theory, historiography and materiality of Early Modern culture in a radical rethinking of the nature of the relationship between the imaginary and the real using the concept of cultural techniques. Working with the operative sequences of the material and the symbolic of epistemological configurations of art, literature and power relations, it demonstrates how media and materiality were a crucial part of both the political and the aesthetic already in Early Modernity. It studies these operations in Early Modern Spain in the reign from Philip II to Philip IV. The development of a paper based bureaucracy as a means of sustaining large-scale power relations bridging distances in space and time forms the locus of the book. Pellucid Paper is informed by German Media theory and specifically the more recent developments of Cultural Techniques, which enables a fresh and imaginative take on Early Modern culture. The book offers a radical account of the dynamic relationship between the death oriented aesthetics of vanitas, techniques and media of storage and a form of mediated presence that permeates the inseparable spheres of the political and the aesthetic.