Video games have been a central feature of the cultural landscape for over twenty years and now rival older media like movies, television, and music in popularity and cultural influence. Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures (Zork, for example) and have little to say about such visually and conceptually sophisticated games as Final Fantasy X, Shenmue, Grand Theft Auto, Halo, and The Sims, in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast—and in some cases, almost unlimited—array of actions and choices. In Gaming, Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the “algorithmic culture” created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions. Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form. Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age. Alexander R. Galloway is assistant professor of culture and communication at New York University and author of Protocol: How Control Exists after Decentralization.

How Control Exists after Decentralization Is the Internet a vast arena of unrestricted communication and freely exchanged information or a regulated, highly structured virtual bureaucracy? In Protocol, Alexander Galloway argues that the founding principle of the Net is control, not freedom, and that the controlling power lies in the technical protocols that make network connections (and disconnections) possible. He does this by treating the computer as a textual medium that is based on a technological language, code. Code, he argues, can be subject to the same kind of cultural and literary analysis as any natural language; computer languages have their own syntax, grammar, communities, and cultures. Instead of relying on established theoretical approaches, Galloway finds a new way to write about digital media, drawing on his backgrounds in computer programming and critical theory. "Discipline-hopping is a necessity when it comes to complicated socio-technical topics like protocol," he writes in the preface. Galloway begins by examining the types of protocols that exist, including TCP/IP, DNS, and HTML. He then looks at examples of resistance and subversion—hackers, viruses, cyberfeminism, Internet art—which he views as emblematic of the larger transformations now taking place within digital culture. Written for a nontechnical audience, Protocol serves as a necessary counterpoint to the wildly utopian visions of the Net that were so widespread in earlier days.

The network has become the core organizational structure for postmodern politics, culture, and life, replacing the modern era’s hierarchical systems. From peer-to-peer file sharing and massive multiplayer online games to contagion vectors of digital or biological viruses and global affiliations of terrorist organizations, the network form has become so invasive that nearly every aspect of contemporary society can be located within it. Borrowing their title from the hacker term for a program that takes advantage of a flaw in a network system, Alexander R. Galloway and Eugene Thacker challenge the widespread assumption that networks are inherently egalitarian. Instead, they contend that there exist new modes of control entirely native to networks, modes that are at once highly centralized and dispersed, corporate and subversive. In this provocative book-length essay, Galloway and Thacker argue that a whole new topology must be invented to resist and reshape the network form, one that is as asymmetrical in relationship to networks as the network is in relation to hierarchy.

Always connect—that is the imperative of today's media. But what about those moments when media cease to function properly, when messages go beyond the sender and receiver to become excluded from the world of communication itself—those messages that state: "There will be no more messages"? In this book, Alexander R. Galloway, Eugene Thacker, and McKenzie Wark turn our usual understanding of media and mediation on its head by arguing that these moments reveal the ways the impossibility of communication is integral to communication itself—instances they call excommunication. In three linked essays, Excommunication pursues this elusive topic by looking at mediation in the face of banishment, exclusion, and heresy, and by contemplating the possibilities of communication with the great beyond. First, Galloway proposes an original theory of mediation based on classical literature and philosophy, using Hermes, Iris, and the Furies to map out three of the most prevalent modes of mediation today—mediation as exchange, as illumination, and as network. Then, Thacker goes boldly beyond Galloway's classification scheme by examining the concept of excommunication through the secret link between the modern horror genre and medieval mysticism. Charting a trajectory of examples from H. P. Lovecraft to Meister Eckhart, Thacker explores those instances when one communicates or connects with the inaccessible, dubbing such modes of mediation "haunted" or "weird" to underscore their inaccessibility. Finally, Wark evokes the poetics of the infuriated swarm as a queer politics of heresy that deviates from both media theory and the traditional left. He posits a critical theory that celebrates heresy and that is distinct from those that now venerate Saint Paul. Reexamining commonplace definitions of media, mediation, and communication, Excommunication offers a glimpse into the realm of the nonhuman to find a theory of mediation adequate to our present condition.

Laruelle is one of the first books in English to undertake in an extended critical survey of the work of the idiosyncratic French thinker François Laruelle, the promulgator of non-standard philosophy. Laruelle, who was born in 1937, has recently gained widespread recognition, and Alexander R. Galloway suggests that readers may benefit from colliding Laruelle’s concept of the One with its binary counterpart, the Zero, to explore more fully the relationship between philosophy and the digital. In Laruelle, Galloway argues that the digital is a philosophical concept and not simply a technical one, employing a detailed analysis of Laruelle to build this case while referencing other thinkers in the French and Continental traditions, including Alain Badiou, Gilles Deleuze, Martin Heidegger, and Immanuel Kant. In order to explain clearly Laruelle’s concepts such as the philosophical decision and the principle of sufficient philosophy, Galloway lays a broad foundation with his discussions of “the One” as it has developed in continental philosophy, the standard model of philosophy, and how philosophers view “the digital.” Digital machines dominate today’s world, while so-called digital thinking—that is, binary thinking such as presence and absence or self and world—is often synonymous with what it means to think at all. In examining Laruelle and digitality together, Galloway shows how Laruelle remains a profoundly non-digital thinker—perhaps the only non-digital thinker today—and engages in an extensive discussion on the interconnections between media, philosophy, and technology.

Rather than praising user-friendly interfaces that work well or castigating those that work poorly, this book considers the unworkable nature of all interfaces, from windows and doors to screens and keyboards.

A groundbreaking critique of the digital world that analyzes its universal technological foundations Whence that nagging sense that something in the digital is amiss—that, as wonderful as our devices are, time spent on smartphones and computers leaves us sour, enervated, alienated? The Digital and Its Discontents uniquely explains that worry and points us toward a more satisfying relationship between our digital lives and our nondigital selves, one that requires a radical change in the way we incorporate technology into our lives. Aden Evens analyzes universal technological principles—in particular, the binary logic—to show that they encourage certain ways of thinking while making others more challenging or impossible. What is out of reach for any digital machine is contingency, the ontological principle that refuses every rule. As humans engage ourselves and our world ever more through digital machines, we are losing touch with contingency and so banishing from our lives the accidental and unexpected that fuel our most creative and novel possibilities for living. Taking cues from philosophy rather than cultural or media theory, Evens argues that the consequences of this erosion of contingency are significant yet often overlooked because the same values that make the digital seem so desirable also make contingency seem unimportant—without contingency the digital is confined to what has already been thought, and yet the digital’s ubiquity has allowed it to disguise this inherent sterility. Responsive only to desires that meet the demands of its narrow logic, the digital requires its users to practice those same ideological dictates, instituting a hegemony of thought and value sustained by the pervasive presence of digital mechanisms. Interweaving technical and philosophical concepts, The Digital and Its Discontents advances a powerful and urgent argument about the digital and its impact on our lives. Retail e-book files for this title are screen-reader friendly.

Activists explore the possibility that a new practice of communism may emerge from the end of society as we know it. Society no longer exists, at least in the sense of a differentiated whole. There is only a tangle of norms and mechanisms through which THEY hold together the scattered tatters of the global biopolitical fabric, through which THEY prevent its violent disintegration. Empire is the administrator of this desolation, the supreme manager of a process of listless implosion.—from Introduction to Civil War Society is not in crisis, society is at an end. The things we used to take for granted have all been vaporized. Politics was one of these things, a Greek invention that condenses around an equation: to hold a position means to take sides, and to take sides means to unleash civil war. Civil war, position, sides—these were all one word in the Greek: stasis. If the history of the modern state in all its forms—absolute, liberal, welfare—has been the continuous attempt to ward off this stasis, the great novelty of contemporary imperial power is its embrace of civil war as a technique of governance and disorder as a means of maintaining control. Where the modern state was founded on the institution of the law and its constellation of divisions, exclusions, and repressions, imperial power has replaced them with a network of norms and apparatuses that conspire in the production of the biopolitical citizens of Empire. In their first book available in English, Tiqqun explores the possibility of a new practice of communism, finding a foundation for an ontology of the common in the politics of friendship and the free play of forms-of-life. They see the ruins of society as the ideal setting for the construction of the community to come. In other words: the situation is excellent. Now is not the time to lose courage.

Con un occhio al calcolabile e uno al non-calcolabile, Alexander R. Galloway ci parla della tecnologia che guida il mondo di oggi e delle persone che hanno contribuito a creare alcune macchine. Grazie al lavoro sugli archivi della computazione e dei media digitali, l’autore compie un passo ulteriore nella propria indagine e ci mostra come il mondo digitale possa prosperare ma anche atrofizzarsi, come le reti possano creare una serie infinita di interconnessioni e, allo stesso tempo, disgregarsi e disgregare, colonizzare il mondo e dare vita a pratiche di esclusione e di opposizione. L’alternanza tra ciò che è possibile calcolare e ciò che crea attrito resistendo al calcolo costituisce la vera storia delle macchine digitali, dalla cibernetica alle reti, fino agli automi cellulari e oltre. Nel descrivere criticamente il passato del mondo “macchinico”, questo libro è una riflessione su tutto ciò che rimane di incomputabile mentre continuiamo a vivere nella lunga era digitale.

Ce livre est né d'un séminaire intitulé French Theory Today - An Introduction to Possible Futures, donné à la Public School de New York en 2010 et consacré à cinq philosophes français : Catherine Malabou, Bernard Stiegler, Mehdi Belhaj Kacem, Quentin Meillassoux et François Laruelle. La perspective dans laquelle se place son auteur est celle d'un outsider étranger au contexte français, aux querelles de clocher de l'élite philosophique parisienne ainsi qu'à l'antique genèse de ses factions politiques. Sous le nom de "nouveaux réalistes", il ne s'agit donc pas de repérer l'émergence d'une nouvelle école mais de faire apparaître, en respectant la singularité de chaque auteur, des chemins de pensée qui témoignent d'un intérêt renouvelé à l'égard de la vérité. L'auteur rassemble ici, entre ontologie, redéfinition de l'objet et critique du capitalisme, quelques-uns des thèmes les plus significatifs du discours d'aujourd'hui. Il démontre qu'à la crise de la théorie succède la recherche d'autres logiques pour d'autres mondes. La question désormais décisive de la philosophie pourrait se formuler ainsi : êtes-vous du côté du réel ou du côté de l'histoire ?