An examination of contemporary art's recent emphasis on “research” and “knowledge production,” and its claims to provide a novel access to “knowledge.” Questioning the role and function of contemporary art in economic and political systems that increasingly manage data and affect, Knowledge Beside Itself delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on such notions as “research” and “knowledge production.” Contemporary art is viewed here as a strategic bet on the social distinctions and value extractions made possible by claiming a different, novel access to “knowledge.” Contemporary art's various liaisons with the humanities and the social and natural sciences, as well as its practitioners' frequent embeddedness within transdisciplinary research environments and educational settings, have created a sense of epistemo-aesthetic departure, which concurs with the growing relevance of art as conduit or catalyst of knowledge. Discussing the practice of artists such as Christine Borland, Bureau d'études, Tony Chakar, Lina Dokuzović, Fernando García-Dory, Natascha Sadr Haghighian, Adelita Husni-Bey, Jakob Jakobsen, Claire Pentecost, and Pilvi Takala, writer and curator Tom Holert submits the gambit of conceptualizing contemporary art as an agent of epistemic politics to a genealogical analysis of its political-economic underpinnings—in times of cognitive capitalism, machine learning, and a renewed urgency of epistemological disobedience.

"Philosophy Beside Itself " was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The writings of French philosopher Jacques Derrida have been the single most powerful influence on critical theory and practice in the United States over the past decade. But with few exceptions American philosophers have taken little or no interest in Derrida's work, and the task of reception, translation, and commentary has been left to literary critics. As a result, Derrida has appeared as a figure already defined by essentially literary critical activities and interests. Stephen Melville's aim in "Philosophy Beside Itself " is to insist upon and clarify the distinctions between philosophy and criticism. He argues that until we grasp Derrida's philosophical project as such, we remain fundamentally unable to see his significance for criticism. In terms derived from Stanley Cavell's writings on modernism, Melville develops a case for Derrida as a modernist philosopher, working at once within and against that tradition and discipline. Melville first places Derrida in a Hegelian context, the structure of which he explores by examining the work of Heidegger, Lacan, and Bataille. With this foundation, he is able to reappraise the project of deconstructive criticism as developed in Paul de Man's "Blindness and Insight "and further articulated by other Yale critics. Central to this critique is the ambivalent relationship between deconstructive criticism and Lacanian psychoanalysis. Criticism--radical self-criticism--is a central means through which the difficult facts of human community come to recognition, and Melville argues for criticism as an activity intimately bound to the ways in which we do and do not belong in time and in community. Derrida's achievement has been to find a new and necessary way to assert that the task of philosophy is criticism; the task of literary criticism is to assume the burden of that achievement. Stephen Melville is an assistant professor of English at Syracuse University, and Donald Marshall is a professor of English at the University of Iowa.

This book brings together a distinguished group of scholars from several generations of feminists, asking them to reflect on the history and identity of feminism. Explores feminism in history and the conflict within feminism.

In Life Beside Itself, Lisa Stevenson takes us on a haunting ethnographic journey through two historical moments when life for the Canadian Inuit has hung in the balance: the tuberculosis epidemic (1940s to the early 1960s) and the subsequent suicide epidemic (1980s to the present). Along the way, Stevenson troubles our commonsense understanding of what life is and what it means to care for the life of another. Through close attention to the images in which we think and dream and through which we understand the world, Stevenson describes a world in which life is beside itself: the name-soul of a teenager who dies in a crash lives again in his friend’s newborn baby, a young girl shares a last smoke with a dead friend in a dream, and the possessed hands of a clock spin uncontrollably over its face. In these contexts, humanitarian policies make little sense because they attempt to save lives by merely keeping a body alive. For the Inuit, and perhaps for all of us, life is "somewhere else," and the task is to articulate forms of care for others that are adequate to that truth.

Appearing in English for the first time, this book comprises two of Ortega’s most important works, ¿Qué es conocimiento? and the essay “Ideas y creencias.” This is Ortega’s attempt to systematically present the foundations of his metaphysics of human life and, on that basis, to provide a radical philosophical account of knowledge. In so doing, he criticizes idealism and overcomes it. Accordingly, this book goes well beyond a treatise on epistemology; in fact, as understood in modern philosophy, this discipline and its questions are shown to be derivative and, in that sense, they are transcended here by Ortega’s systematic effort. Written during the time of his maturity, these works are representative of his fruitful and radical period. Both ¿Qué es conocimiento? and “Ideas y creencias” are equally decisive not only for the understanding and radical completion of Ortega’s work, but also for their relevance to the work of continental philosophers during the same period and for years to come (e.g., Husserl, Jaspers, Heidegger, Sartre, and others).