Eugene Marshall presents an original, systematic account of Spinoza's philosophy of mind, in which the mind is presented as an affective mechanism, one that, when rational, behaves as a spiritual automaton. The central feature of the account is a novel concept of consciousness, one that identifies consciousness with affectivity, a property of an idea paradigmatically but not exhaustively instantiated by those modes of thought Spinoza calls affects. Inadequate and adequate ideas come to consciousness, and thus impact our well-being and establish or disturb our happiness, only insofar as they become affects and, thus, conscious. And ideas become affects by entering into appropriate causal relations with the other ideas that constitute a mind. Furthermore, the topic of consciousness in Spinoza provides an eminently well-placed point of entry into his system, because it flows directly out of his central metaphysical, epistemological, and psychological commitments—and it does so in a way that allows us to see Spinoza's philosophy as a systematic whole. Further, doing so provides a thoroughly consistent yet novel way of thinking about central themes in his thought. Marshall's reading provides a novel understanding of adequacy, innateness, power, activity and passivity, the affects, the conatus, bondage, freedom, the illusion of free will, akrasia, blessedness, salvation, and the eternity of the soul. In short, by explaining the affective mechanisms of consciousness in Spinoza, The Spiritual Automaton illuminates Spinoza's systematic philosophical and ethical project as a whole, as well as in its details, in a striking new way.

Eugene Marshall presents an original, systematic account of Spinoza's philosophy of mind, in which the mind is presented as an affective mechanism that, when rational, behaves as a spiritual automaton. He explores key themes in Spinoza's thought, and illuminates his philosophical and ethical project in a striking new way.

'Filmosophy' is a manifesto for a radically philosophical way of understanding cinema. The book coalesces 20th century ideas of film as thought into a practical theory of 'film-thinking', arguing that film style conveys poetic ideas through a constant dramatic 'intent' about the characters, spaces, and events of film.

A critical engagement with the writings on Gilles Deleuze by scholars and translators of his work. Originally published as a special edition of SAQ, Summer, 1997, Vol. 96.3; it's both an introduction to and a critique of his work.

In this book, Joshua Ramey examines the extent to which Gilles Deleuze's ethics, metaphysics, and politics were informed by, and can only be fully understood through, this hermetic tradition.

In the not too distant future, after the huge successes of role-playing games, virtual worlds and reality shows, it was only a matter of time before somebody took the next step. A remote island: a population existing only to entertain. Their lives broadcast around the clock and around the globe. Their actions dictated by their owners. It’s the world’s biggest game played by thousands. Welcome to 'Gameworld'. Dean 3012 is a good guy living on the Island. He loves his girlfriend, Lily, to pieces. With their first baby on the way, life is perfect. But when things take a sinister turn, the couple are plunged into a world of darkness and despair. Dean must somehow find a way to take control and fight for all their lives. Amelia watches the game, given the gift of a 'Gameworld' Character when she was but a small child. However, when her character’s happiness is threatened, how far will Amelia go to protect her?

An introduction to Deleuze's theory of cinema, from a leading American film theorist.