Graham Harman

It is well known that Dante's poetic works interpret love as the moving force of the universe: as embodied in his muse Beatrice from La Vita Nuova onward, as well as the much holier persons inhabiting Paradiso.Likewise, if love is the ultimate form of sincerity, it is easy to interpret the Inferno as a brilliant counterpoint of anti-sincerity, governed by fraud and blasphemy along with the innocuous form of fraud known as humour. In turn, the middle ground of Purgatorio is where Harman locates Dante's clearest theory of sincerity. Yet this is only the beginning. For while Dante provides a suitable background for the metaphysics of commitment found in such later thinkers as Pascal, Kierkegaard, Sartre, and Badiou, he also provides even more important resources for overcoming two centuries of philosophy shaped by Immanuel Kant.

In this book the metaphysical system of Graham Harman is presented in lucid form, aided by helpful diagrams. In Chapter 1, Harman gives his most forceful critique to date of philosophies that reject objects as a primary reality. All such rejections are tainted by either an undermining or overmining approach to objects. In Chapters 2 and 3, he reviews his concepts of sensual and real objects. In the process, he attacks the prestige normally granted to philosophies of human access, which Harman links for the first time to the already discredited Menos Paradox. In Chapters 4 through 7, Harman brings the reader up to speed on his interpretation of Heidegger, which culminates in a fourfold structure of objects linked by indirect causation. In Chapter 8, he speculates on the implications of this theory for the debate over panpsychism, which Harman both embraces and rejects. In Chapters 9 and 10, he introduces the term ontography as the study of the different possible permutations of objects and qualities, which he simplifies with easily remembered terminology drawn from standard playing cards.

This article uses the ideas of Marshall McLuhan to argue for a non-relational approach to architecture. The word ‘form’ is used throughout the arts and humanities, though in different ways depending on the term to which it is opposed: as in form vs. function, form vs. content, and form vs. matter. In his book The Autopoiesis of Architecture, Patrik Schumacher argues that form/function is the lead-distinction of the architectural profession. I hold that Schumacher cannot be right in this claim, since form and function are both too relational in character to form a true opposition.

As Holderlin was to Martin Heidegger and Mallarme to Jacques Derrida, so is H.P. Lovecraft to the Speculative Realist philosophers. Lovecraft was one of the brightest stars of the horror and science fiction magazines, but died in poverty and relative obscurity in the 1930s. In 2005 he was finally elevated from pulp status to the classical literary canon with the release of a Library of America volume dedicated to his work. The impact of Lovecraft on philosophy has been building for more than a decade. Initially championed by shadowy guru Nick Land at Warwick during the 1990s, he was later discovered to be an object of private fascination for all four original members of the twenty-first century Speculative Realist movement. In this book, Graham Harman extracts the basic philosophical concepts underlying the work of Lovecraft, yielding a weird realism capable of freeing continental philosophy from its current soul-crushing impasse. Abandoning pious references by Heidegger to Holderlin and the Greeks, Harman develops a new philosophical mythology centered in such Lovecraftian figures as Cthulhu, Wilbur Whately, and the rat-like monstrosity Brown Jenkin. The Miskatonic River replaces the Rhine and the Ister, while Holderlin's Caucasus gives way to Lovecraft's Antarctic mountains of madness.

Quentin Meillassoux has been described as the most rapidly prominent French philosopher in the Anglophone world since Jacques Derrida in the 1960s. With the publication of After Finitude (2006), this daring protege of Alain Badiou became one of the world's most visible younger thinkers. In this book, his fellow Speculative Realist, Graham Harman, assesses Meillassoux's publications in English so far. Also included are an insightful interview with Meillassoux and first-time translations of excerpts from L'Inexistence divine (The Divine Inexistence), his famous but still unpublished major book.

Martin Heidegger’s (1889-1976) influence has long been felt not just in philosophy, but also in such fields as art, architecture, and literary studies. Yet his difficult terminology has often scared away interested readers lacking an academic background in philosophy. In this new entry in the Ideas Explained series, author Graham Harman shows that Heidegger is actually one of the simplest and clearest of thinkers. His writings and analyses boil down to a single powerful idea: being is not presence. In any human relation with the world, our thinking and even our acting do not fully exhaust the world. Something more always withdraws from our grasp. As Harman shows, Heidegger understood that human beings are not lucid scientific observers staring at the world and describing it, but instead are thrown into a world where light is always mixed with shadow. The book concludes with a comprehensible discussion of the philosopher’s notoriously opaque concept of the fourfold.