conversations.from: human
conversations.value: a title for a book about strong>'A, [the], em>John with the genre: New, Used & Rental Textbooks, Humanities
conversations.from: assistant
conversations.value: A title for this book could be 'The Continental Aesthetics Reader'
conversations.from: human
conversations.value: Give me the first two paragraphs for the book.. End with the sentence ' But before approaching this issue, it is necessary to further clarify its position within the anterior assemblages.'.
conversations.from: assistant
conversations.value: The Continental Aesthetics Reader
  Science, technology, philosophy, art and human affairs confront respectively the constraints and resistances of specific materials which they loosen and articulate within given limits. They do this with the help of codes, know-how and historical teachings which lead them to close certain doors and open other ones. The relations between the finite modes of these materials and the infinite attributes of the Universes of the possible they imply are different within each of these activities. Philosophy, for example, generates its own register of creative constraints, secretes its material of textual reference; it projects their finitude onto an infinite power corresponding to the auto-positioning and auto-consistency of its key concepts, at least at each mutant phase of its development. For their part, the paradigms of techno-science place the emphasis on an objectal world of relations and functions, systematically bracketing out subjective affects, such that the finite, the delimited and coordinatable, always takes precedence over the infinite and its virtual references. With art, on the contrary, the finitude of the sensible material becomes a support for the production of affects and percepts which tend to become more and more eccentred with respect to preformed structures and coordinates. Marcel Duchamp declared: 'art is a road which leads towards regions which are not governed by time and space.' The different domains of thought, action and sensibility position, in dissimilar ways, their movement from infinity into the passage of time, or rather into epochs capable of returning to or intersecting each other. For example, theology, philosophy and music today no longer compose a constellation as strong as during the Middle Ages. The metabolism of the infinite, proper to each assemblage, is not fixed once and for all. And when an important mutation appears within a domain, it can have 'fallout,' it can transversally contaminate many other domains (for example, the effect on the arts and literature of the potentially unlimited reproducibility of text and image by the printing press, or the power of cognitive transference acquired by mathematical algorithms in the sciences).
  The aesthetic power of feeling, although equal in principle with the other powers of thinking philosophically, knowing scientifically, acting politically, seems on the verge of occupying a privileged position within the collective Assemblages of enunciation of our era. But before approaching this issue, it is necessary to further clarify its position within the anterior assemblages.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: L. de la Durantaye, Giorgio Agamben: A Critical Introduction, Stanford: Stanford University Press, 2009.
  J. Mckim, 'Agamben at Ground Zero – a memorial without content', Theory, Culture and Society, 2008, vol. 25, pp. 83–103.
  A. Norris (ed.), Politics, Metaphysics, and Death: Essays on Giorgio Agamben's Homo Sacer, Durham: Duke University Press, 2005.
  F. Presutti, 'Giorgio Agamben, Gilles Deleuze and the "Idea of Language" in the synthesis of "being"', Journal of the British Society for Phenomenology, 2008, vol. 39, pp. 130–46.
  A. Ross (ed.), The Agamben Effect, Durham: Duke University Press, 2008. Special edition of the South Atlantic Quarterly.
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: de la Durantaye, Giorgio Agamben: A Critical Introduction, Stanford: Stanford University Press, 2009.
  J. Mckim, 'Agamben at Ground Zero – a memorial without content', Theory, Culture and Society, 2008, vol. 25, pp. 83–103.
  A. Norris (ed.), Politics, Metaphysics, and Death: Essays on Giorgio Agamben's Homo Sacer, Durham: Duke University Press, 2005.
  F. Presutti, 'Giorgio Agamben, Gilles Deleuze and the "Idea of Language" in the synthesis of "being"', Journal of the British Society for Phenomenology, 2008, vol. 39, pp. 130–46.
  A. Ross (ed.), The Agamben Effect, Durham: Duke University Press, 2008. Special edition of the South Atlantic Quarterly.
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: Nietzsche, F. –; Adorno , ; Badiou , ; Bataille ; Blanchot ; Deleuze and Guattari , ; Derrida –; Foucault ; glossary , , ; Guattari ; Heidegger ; introduction xiv–xv, xvii–xviii; de Man ; Nancy , ; Vattimo , –
  Other: Badiou ; Butler ; glossary ; introduction ; Lacan –; Irigaray –; Kristeva –; Nancy ; Rancière , , –; Žižek –, –
  Plato: Badiou –, ; Butler ; Derrida ; glossary , , , , ; Guattari ; introductions , , , , , , ; Irigaray , ; Kristeva , –; Lacan , ; Levinas , ; Lyotard ; de Man ; Rancière –, ; Sartre
  Renaissance: Benjamin , , ; Blanchot ; Guattari , ; Habermas –, ; introduction , ; Levinas ; de Man ; Merleau-Ponty –, ; Virilio
  Van Gogh, V.: Barthes ; Cixous –, , , ; Deleuze and Guattari , , –, , –; Dufrenne ; Heidegger –, , –, , ; Merleau-Ponty