The System Of Objects

The System of Objects is a tour de force—a theoretical letter-in-a-bottle tossed into the ocean in 1968, which brilliantly communicates to us all the live ideas of the day. Pressing Freudian and Saussurean categories into the service of a basically Marxist perspective, The System of Objects offers a cultural critique of the commodity in consumer society. Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life. The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille’s political economy of “expenditure” and Mauss’s theory of the gift; Reisman’s lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre’s work on the social construction of space; and last, but not least, Guy Debord’s situationist critique of the spectacle.

By developing object calculi in which objects are treated as primitives, the authors are able to explain both the semantics of objects and their typing rules, and also demonstrate how to develop all of the most important concepts of object-oriented programming languages: self, dynamic dispatch, classes, inheritance, protected and private methods, prototyping, subtyping, covariance and contravariance, and method specialization. An innovative and important approach to the subject for researchers and graduates.

Since Kant, philosophy has been obsessed with epistemological questions pertaining to the relationship between mind and world and human access to objects. In The Democracy of Objects, Bryant proposes that we break with this tradition and once again initiate the project of ontology as first philosophy. Drawing on the object-oriented ontology of Graham Harman, as well as the thought of Roy Bhaskar, Gilles Deleuze, Niklas Luhman, Aristotle, Jacques Lacan, Bruno Latour and the developmental systems theorists, Bryant develops a realist ontology that he calls "onticology". This ontology argues that being is composed entirely of objects, properties, and relations such that subjects themselves are a variant of objects. Drawing on the work of the systems theorists and cyberneticians, Bryant argues that objects are dynamic systems that relate to the world under conditions of operational closure. In this way, he is able to integrate the most vital discoveries of the anti-realists within a realist ontology that does justice to both the material and cultural. Onticology proposes a flat ontology where objects of all sorts and at different scales equally exist without being reducible to other objects and where there are no transcendent entities such as eternal essences outside of dynamic interactions among objects. Contents: Towards a Finally Subjectless Object Grounds For a Realist Ontology The Paradox of Substance Virtual Proper Being The Interior of Objects Regimes of Attraction, Parts, and Structure The Four Theses of Flat Ontology

Kathrin Koslicki offers an analysis of ordinary materials objects, those material objects to which we take ourselves to be committed in ordinary, scientifically informed discourse. She focuses particularly on the question of how the parts of such objects are related to the wholes which they compose. Many philosophers today find themselves in the grip of an exceedingly deflationary conception of what it means to be an object. According to this conception, any plurality of objects, no matter how disparate or gerrymandered, itself composes an object, even if the objects in question fail to exhibit interesting similarities, internal unity, cohesion, or causl interaction amongst each other. This commitment to initially counterintuitive objects follows from the belief that no principled set of criteria is available by means of which to distinguish intuitively gerrymandered objects from commonsensical ones; the project of this book is to persuade the reader that systematic principles can be found by means of which composition can be restricted, and hence that we need not embrace this deflationary approach to the question of what it means to be an object. To this end, a more full-blooded neo-Aristotelian account of parthood and composition is developed according to which objects are structured wholes: it is integral to the existence and identity of an object, on this conception, that its parts exhibit a certain manner of arrangement. This structure-based conception of parthood and composition is explored in detail, along with some of its historical precursors as well as some of its contemporary competitors.

This uniquely engaging introduction to Jean Baudrillard’s controversial writings covers his entire career focusing on Baudrillard’s central, but little understood, notion of symbolic exchange. Through the clarification of this key term a very different Baudrillard emerges: not the nihilistic postmodernist and enemy of Marxism and Feminism that his critics have constructed, but a thinker immersed in the social world and passionately committed to a radical theorizsation of it. Above all Baudrillard sought symbolic spaces, spaces where we might all, if only temporarily, shake off the system of social control. His writing sought to challenge and defy the system. By erasing our ‘liberated’ identities and suspending the pressures to compete, perform, consume and hate that the system induces, we might create spaces not of freedom, but of symbolic engagement and exchange.

A revelatory conversation between two major figures in visual culture.

Develops a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure. This book represents an effort to rethink cultural theory from the perspective of a concept of cultural materialism, one that radically redefines postmodern formulations of the body.