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The Universal Machine
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$28.95
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Product Details
Author:
Fred Moten
Format:
Paperback
Pages:
312
Publisher:
Duke University Press (August 6, 2018)
Imprint:
Duke University Press
Language:
English
Audience:
Professional and scholarly
ISBN-13:
9780822370550
ISBN-10:
0822370557
Weight:
17.6oz
Dimensions:
6" x 9"
File:
TWO RIVERS-PERSEUS-Metadata_Only_Perseus_Distribution_Customer_Group_Metadata_20250917125829-20250918.xml
Folder:
TWO RIVERS
List Price:
$28.95
Country of Origin:
United States
Series:
consent not to be a single being
Case Pack:
40
As low as:
$22.29
Publisher Identifier:
P-PER
Discount Code:
A
Pub Discount:
46
Overview
"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination
In The Universal Machine—the concluding volume to his landmark trilogy consent not to be a single being—Fred Moten presents a suite of three essays on Emmanuel Levinas, Hannah Arendt, and Frantz Fanon, in which he explores questions of freedom, capture, and selfhood. In trademark style, Moten considers these thinkers alongside artists and musicians such as William Kentridge and Curtis Mayfield while interrogating the relation between blackness and phenomenology. Whether using Levinas's idea of escape in unintended ways, examining Arendt's antiblackness through Mayfield's virtuosic falsetto and Anthony Braxton's musical language, or showing how Fanon's form of phenomenology enables black social life, Moten formulates blackness as a way of being in the world that evades regulation. Throughout The Universal Machine—and the trilogy as a whole—Moten's theorizations of blackness will have a lasting and profound impact.
In The Universal Machine—the concluding volume to his landmark trilogy consent not to be a single being—Fred Moten presents a suite of three essays on Emmanuel Levinas, Hannah Arendt, and Frantz Fanon, in which he explores questions of freedom, capture, and selfhood. In trademark style, Moten considers these thinkers alongside artists and musicians such as William Kentridge and Curtis Mayfield while interrogating the relation between blackness and phenomenology. Whether using Levinas's idea of escape in unintended ways, examining Arendt's antiblackness through Mayfield's virtuosic falsetto and Anthony Braxton's musical language, or showing how Fanon's form of phenomenology enables black social life, Moten formulates blackness as a way of being in the world that evades regulation. Throughout The Universal Machine—and the trilogy as a whole—Moten's theorizations of blackness will have a lasting and profound impact.
