Graham Harman

Platonic myth meets American noir in this haunting series of philosophical images, from gigantic ferris wheels to offshore drilling rigs. It has been said that Plato, Nietzsche, and Giordano Bruno gave us the three great mythical presentations of serious philosophy in the West. They have spawned few imitators, as philosophers have generally drifted toward a dry, scholarly tone that has become the yardstick of professional respectability. In this book, Graham Harman tries to restore myth to its central place in the discipline. In Chapter One, the narrator considers the motion of a Ferris wheel of many miles in diameter, which generates disasters and other events in its endless revolutions. In Chapter Two, he moves from the Chesapeake Bay to the depths of Hell, where he observes the show trial of pre-Socratic thinkers. In Chapter Three, the narrator encounters a battered steam calliope in India that may summon tsunamis, solar flares, and other catastrophic forces. In Chapter Four, he tries to explain reports of a ghostly boat in Japanese waters. In Chapter Five, he discusses causation on an offshore drilling platform. And in Chapter Six, amidst a deadly Paris hailstorm, he proposes a theory of objects without relations.

What objects exist in the social world and how should we understand them? Is a specific Pizza Hut restaurant as real as the employees, tables, napkins and pizzas of which it is composed, and as real as the Pizza Hut corporation with its headquarters in Wichita, the United States, the planet Earth and the social and economic impact of the restaurant on the lives of its employees and customers? In this book the founder of object-oriented philosophy develops his approach in order to shed light on the nature and status of objects in social life. While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an “immaterialist” method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of ‘actor-network theory’. In an extended discussion of Leibniz’s famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through ‘what it is’ or ‘what it does’, but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis. This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

Prince of Networks is the first treatment of Bruno Latour specifically as a philosopher. It has been eagerly awaited by readers of both Latour and Harman since their public discussion at the London School of Economics in February 2008. Part One covers four key works that display Latour’s underrated contributions to metaphysics: Irreductions, Science in Action, We Have Never Been Modern, and Pandora’s Hope. Harman contends that Latour is one of the central figures of contemporary philosophy, with a highly original ontology centered in four key concepts: actants, irreduction, translation, and alliance. In Part Two, Harman summarizes Latour’s most important philosophical insights, including his status as the first ‘secular occasionalist.’ The problem of translation between entities is no longer solved by the fiat of God (Malebranche) or habit (Hume), but by local mediators. Working from his own ‘object-oriented’ perspective, Harman also criticizes the Latourian focus on the relational character of actors at the expense of their cryptic autonomous reality. This book forms a remarkable interface between Latour’s Actor-Network Theory and the Speculative Realism of Harman and his confederates. It will be of interest to anyone concerned with the emergence of new trends in the humanities following the long postmodernist interval.