Toxic Immanence

More than a decade after the Fukushima Daiichi nuclear disaster, what we are witnessing is not a Second Nuclear Age – there is no post-atomic – but an uncanny, quiet return of the nuclear threat that so vividly animated the Cold War era. The renewed threat of nuclear proliferation, public complacency regarding weapons stockpiles, and the lack of a single functioning long-term repository after seventy years and thousands of tonnes of nuclear waste reveals the industry’s capacity for self-reinvention abetted by an ever-present capacity to forget. More than “fabulously textual,” as Jacques Derrida described it, the protean, unbound, and unending materiality of the nuclear is here to stay: resistance is crucial. Toxic Immanence introduces contemporary interdisciplinary perspectives that resist and decolonize the nuclear. Contributors highlight the prevalence and irrationality of slow violence and colonial governance as elements of the contemporary nuclear age. They propose a reappraisal of Cold War-era anti-nuclear art as well as pop culture representations of nuclear disaster, while decolonizing pedagogies advance the role of education in communicating and understanding the lethality of nuclear complexes. Collectively, the essays develop a robust critical discourse across fields of nuclear knowledge and integrate the work of the nuclear humanities with environmental justice and Indigenous rights activism. This reach across ways of knowing extends artistically: the poetry and photography included in this volume offer visions of past and present nuclear legacies. Conceived as a critical reflection on the potential of nuclear humanities, Toxic Immanence offers intellectual strategies for resisting and abolishing the global nuclear regime.

The Handbook of Communication and Security provides a comprehensive collection and synthesis of communication scholarship that engages security at multiple levels, including theoretical vs. practical, international vs. domestic, and public vs. private. The handbook includes chapters that leverage communication-based concepts and theories to illuminate and influence contemporary security conditions. Collectively, these chapters foreground and analyze the role of communication in shaping the economic, technological, and cultural contexts of security in the 21st century. This book is ideal for advanced undergraduate and postgraduate students and scholars in the numerous subfields of communication and security studies.

A place comes into existence through the depth of relationships that underwrite a physical location with layers of sedimented names. In Place Matters scholars and artists conduct varied forms of place-based inquiry to demonstrate why place matters. Lavishly illustrated, the volume brings into conversation photographic projects and essays that revitalize the study of landscape. Contributors engage the study of place through an approach that Jonathan Bordo and Blake Fitzpatrick call critical topography: the way that we understand critical thought to range over a place, or how thought and symbolic forms invent place through text and image as if initiated by an X marking the spot. Critical topography’s tasks are to mediate and to diminish the gap between representation and referent, to be both in the world and about the world; to ask what place is this, what are its names, where am I, how and with what responsibilities may I be here? Chapters map the deep cultural, environmental, and political histories of singular places, interrogating the charged relation between history, place, and power and identifying the territorial imperatives of place making in such sites as Colonus, Mont Sainte-Victoire, Chomolungma/Everest, Hiroshima, Fort Qu’Appelle, Donetsk airport, and the island of Lesbos. With contributions from the renowned artists Hamish Fulton and Edward Burtynsky, the Swedish poet Jesper Svenbro, and others, the collection examines profound shifts in place-based thinking as it relates to the history of art, the anthropocene and nuclear ruin, borders and global migration, residential schools, the pandemic, and sites of refuge. In his prologue W.J.T. Mitchell writes: “Places, like feasts, are moveable. They can be erased and forgotten, lost in space, or maintained and rebuilt. Both their appearance and disappearance, their making and unmaking, are the work of critical topography.” Global in scope, Canadian in spirit, and grounded in singular sites, Place Matters presents critical topography as an approach to analyze, interpret, and reflect on place.

The Franco-Japanese coproduction Hiroshima mon amour (1959) is one of the most important films for global art cinema and for the French New Wave. In Through a Nuclear Lens, Hannah Holtzman examines this film and the transnational cycle it has inspired, as well as its legacy after the 2011 nuclear disaster at Fukushima Daiichi. In a study that includes formal and theoretical analysis, archival research, and interviews, Holtzman shows the emergence of a new kind of nuclear film, one that attends to the everyday effects of nuclear disaster and its impact on our experience of space and time. The focus on Franco-Japanese exchange in cinema since the postwar period reveals a reorientation of the primarily aesthetic preoccupations in the tradition of Japonisme to center around technological and environmental concerns. The book demonstrates how French filmmakers, ever since Hiroshima mon amour, have looked to Japan in part to better understand nuclear uncertainty in France.

In Literature and the Encounter with Immanence Brynnar Swenson collects nine original essays that approach the relationship between literature and immanence through methodologies grounded in the philosophy of Spinoza.

Romantic Immanence examines literary examples of an alternative experience of otherness—an experience of alterity the Romantics understood as an embodied, immanent encounter with raw reality. The Romantics' enthusiasm for encounters in nature and the imagination that exceeded the limits of rational thought is well known. Yet these encounters have largely been interpreted in terms of the sublime or the Gothic. Drawing attention to the influence of Spinozist and Stoic philosophy on Romantic thought and aesthetics, Elizabeth A. Fay argues that immanence was another, perhaps even more important, form of alterity, particularly during this era of social and political upheaval. Investigating works such as Coleridge's Rime of the Ancient Mariner, Dorothy Wordsworth's Grasmere Journals, and Percy Shelley's Triumph of Life alongside Schelling's unfinished Ages of the World and Schlegel's Athenaeum Fragments, Fay demonstrates how Romantic immanence, despite going largely unrecognized with the loss of its initial context, remains vividly present in these works.

What changes when we religiously worship the toxic? In this era of catastrophe, can a cosmic connection be achieved through a cult of pollution? Toxic Temple is an artistic-philosophical quest to understand the current parlous state of the world. We offer our inner contradictions and destructive lusts as objects of worship. We enter wastelands instead of new territory, leaving space for artifacts, expressing solidarity with the factual. We encounter colorful assemblages of things that connect the known cosmos, tread the shaky ground of novel divinity, inhale pungent odors that transport us to the sublime. Garbage dumps are the new temples. In a mania of sadistic composure we breathe in the here and now. Transformative forces are released, free radicals; rituals that expose the chaos that lurks beneath the surface.

Outlines a mystical theology and experience of the sacred founded on the absence of god. Originally published in 1943, Inner Experience is the single most significant work by one of the twentieth century’s most influential writers. It outlines a mystical theology and experience of the sacred founded on the absence of god. Bataille calls Inner Experience a “narrative of despair,” but also describes it as a book wherein “profundity and passion go tenderly hand in hand.” Herein, he says, “The mind moves in a strange world where anguish and ecstasy take shape.” Bataille’s search for experience begins where religion, philosophy, science, and literature leave off, where doctrines, dogmas, methods, and the arts collapse. His method of meditation, outlined and documented here, commingles horror and delight. Laughter, intoxication, eroticism, poetry, and sacrifice are pursued not as ends in and of themselves but as means of access to a sovereign realm of inner experience. This new translation is the first to include Method of Meditation and Post-Scriptum 1953, the supplementary texts Bataille added to create the first volume of his Summa Atheologica. This edition also offers the full notes and annotations from the French edition of Bataille’s Oeuvres Complètes, along with an incisive introductory essay by Stuart Kendall that situates the work historically, biographically, and philosophically.