Nuclear Futurism: The Work of Art in the Age of Remainderless Destruction

Front Cover
John Hunt Publishing, 2012 - Philosophy - 137 pages
0 Reviews
Starting from the end of history, the end of art and the failure of the future set out by such ends, Nuclear Futurism reinvigorates art, literature and philosophy through the unlikely alliance of hauntology and the Italian futurists. Tracing the paradoxes of the possibilities of total nuclear destruction reveals the terminal condition of culture in the time of ends, where the logic of the apocalyptic without apocalypse holds sway. These paradoxes also open the path for a new vision of the future in the form of experimental art and literature. By re-examining the thought of both Derrida and Heidegger with regards to the history of art, the art of history and their responses to the most dangerous technology of nuclear weapons the future is exposed as a progressive event, rather than the atrophied and apocalyptic to-come of the present world. It is happening now, opening up through the force of art and literature and charting a new path for a futural philosophy.
 

What people are saying - Write a review

We haven't found any reviews in the usual places.

Contents

Terminal Documents
1
The Non Event of 1984
6
The New Beauty of Speed
12
The Fabulously Textual Nuclear War
20
The End of the Book and the Beginning of Writing
36
Spectral Matters
44
Small Library Apocalypse
62
The Work of Art and the Dangers of Technology
73
Only a Remembrance
84
Language Literature and the Death Machine
92
Death on a Pale Horse
98
For the First Time and the Last Time
109
Conclusion
118
Footnotes
121
Bibliography
135
Copyright

Other editions - View all

Common terms and phrases

About the author (2012)

Liam Sprod was born in England before the possibility of nuclear war prompted his parents to relocate to Hobart, Australia.  There he studied, researched and taught philosophy at the University of Tasmania.  Eventually tiring of merely reading European philosophy he has been undertaking research throughout Europe, tracing the various end-of narratives from the ends of history in Berlin and Jena, through the end of poetry in Auschwitz, to the end of television in Timisoara, Romania.  He currently lives in Stockholm where he is collaborating with visual artist Linda Persson on research, teaching programs and writing, much of which may be found on his blog http://essentialincompleteness.blogspot.com/.

Bibliographic information