Louis Armand Livres

Hashish-infused, amphetamine-driven & ranging in bold thematic cross-cuts from the seminal "garden" of the Book of Genesis to Hieronymous Bosch's Garden of Earthly Delights & The Perfumed Garden of Shaykh Nefzawi, to Pierre Guyotat's Eden Eden Eden & Derek Jarman's film of the same name, Armand's The Garden is by turns excoriating & lyrical, political & pornographic, a blasphemous ransacking of literary & theological pieties - "a practice, an ascetic aesthetic," as McKenzie Wark wrote in one early review, "for moving toward feeling in the pure form of its impurity."

Tato kniha byla vydána českým nakladatelstvím Twisted Spoon Press, které sídlí v Praze a vydává díla českých a slovanských autorů v anglickém jazyce. Oficiální anotace nakladatele: Seances, composed between 1993 and 1997, represents the first full-length collection of poetry from Sydney-born writer Louis Armand. Compared favourably to French poet Yves Bonnefoy, Armand has attracted growing attention from editors and the reading public alike, particularly in his native Australia where his work has recently gained hard-won approval from the “literary establishment.” Felicity Plunkett of Siglo describes Armand's poetry as “both daring and serious at the same time.”

This collection of writings explores the theory and praxis of technicity in contemporary thought. From the ground-breaking explorations of such figures as Freud, Heidegger, Deleuze/Guattari and Derrida to the work of more recent theorists like Bernard Stiegler, Friedrich Kittler and Katherine Hayles, it is becoming possible to speak of a new "technological turn" in contemporary continental theory. Yet despite the plethora of work in the field there has not been any sustained attempt to think through the larger philosophical, cultural and political implications of the new technologies. In this collection, a group of internationally-known figures within the fields of philosophy, linguistics and cultural studies come together to consider the meaning of "technicity" at the beginning of the 21st century. Contributors: Bernard Stiegler, Louis Armand, Arthur Bradley, Christopher Johnson, Hartmut Winkler, J. Hillis Miller, Belinda Barnet, Geert Lovink and Kenneth C. Werbin, Darren Tofts, McKenzie Wark, Niall Lucy, Laurent Milesi, Michael Greaney, Mark Amerika.

Interdisciplinární sborník zkoumá různorodé aspekty současné podoby lidského myšlení. Do sborníku přispěli: Slavoj Žižek, Ben Goertzel, Ivan Havel, Louis Armand, Donald F. Theall, Arthur Bradley, Simon Critchley, Tom McCarthy, Darren Tofts, McKenzie Wark, Gregory L. Ulmer, Andrew Mitchell, Arthur & Marilouise Kroker, Zoe Beloff, Jane Lewty

Monument is a collaborative collection between John Kinsella and Louis Armand, which follows on from their earlier Synopticon project (though differs from it in that, rather than being an 'overwriting,' this was produced in a reverse 'erasure' process). Featuring 100 pseudo sonnets & variations, it began in Gordon Square, London as a response to the colonial institutional politics of the British Museum.

The book offers a comprehensive critical study of Giacomo Joyce, addressing the diverse opinions and scholarly interest it has generated since its posthumous release. It aims to consolidate existing commentaries and analyses, filling a significant gap in Joyce scholarship. With positive feedback from the academic community, the authors, experienced in Irish literature and Joyce studies, seek to present this final work of Joyce within a robust scholarly framework, facilitating ongoing critical engagement.

“À ces mots, il s’est tu. Assez de mots! Il c’est tué.”Set in and around Jardin des Plantes, Paris, Europe, the World, the Universe, Armand’s short novel is a whodunit with multiple twists. The setting of the tale against a backdrop of fossils and marvels of taxidermy gives Armand’s story a macroscopic dimension. As if the evolution of an entire species could be compressed into several hours of a Sunday morning. As if a tale of a murdered schoolteacher and a vengeful mob could tell of speciation and extinction throughout the evolutionary history of life on Earth. And it can. Armand’s deftly written fragmentary narrative is a point-counter-point of silent unheard voices, whose apocalyptic finale eschews euphony in favour of a cacophonous refusal of resolution. “NO END” – loose ends being preferable to final solutions…

Theorising the “poetic turn” in cultural discourse from the 1950s to the present, The Organ Grinder’s Monkey examines the post-avant-garde condition mapped out in the work of an international roster of artists, writers, philosophers and film-makers, from Neo-Dada to the New Media, including Andy Warhol, Jean-Luc Godard, Cy Twombly, Jacques Derrida, Rosalind Krauss, Samuel Beckett, Harold Rosenberg, Clement Greenberg, Alain Badiou, Dusan Makavejev, Marjorie Perloff, Michael Dransfield, Charles Olson, Jean-Michel Basquiat, Veronique Vassiliou, Guy Debord, Joshua Cohen, Pierre Joris, Philippe Sollers, Karen Mac Cormack, Marshall McLuhan, Lukas Tomin, John Kinsella, and Vincent Farnsworth. http://litterariapragensia.wordpress....

There is a rigour and a set of seemingly limitless practical and theoretical demands involved with JoyceMedia that make it a difficult proposition for those more used to the "method" of applying theories that have already been worked out elsewhere. It is arguable, indeed, that after deconstruction, the fusion of genetics and hypertext represents the first major theoretical discourse to have emerged directly out of an engagement with Joyce's texts. If this is truly the case, then there is every reason to consider that this volume-however tardy its arrival must seem to those who first heard news of it ten years ago-remains nonetheless "in advance" of itself, and that its "news" is, in fact, still to be received. Donald F. Theall, Mark Nunes, Laurent Milesi, Daniel Ferrer, Marlena Corcoran, Michael Groden, Dirk Van Hulle, Thomas Jackson Rice, Alan R. Roughley, Darren Tofts.