In the aftermath of the 2016 US election, Brexit, and a global upsurge of nationalist populism, it is evident that the delirium and the crisis of neoliberal capitalism is now the delirium and crisis of liberal democracy and its culture. And though capitalist crisis does not begin within art, art can reflect and amplify its effects to positive and negative ends. 
 
In this follow-up to his influential 2010 book, Dark Matter: Art and Politics in the Age of Enterprise Culture, Sholette engages in critical dialogue with artists’ collectives, counter-institutions, and activist groups to offer an insightful firsthand account of the relationship between politics and art in neoliberal society. Sholette lays out clear examples of art’s deep involvement in capitalism: the dizzying prices achieved by artists who pander to the financial elite, the proliferation of museums that contribute to global competition between cities in order to attract capital, and the strange relationship between art and rampant gentrification that restructures the urban landscape. 
 
With a preface by noted author Lucy R. Lippard and an introduction by theorist Kim Charnley, Delirium and Resistance draws on over thirty years of critical debates and practices both in and beyond the art world to historicize and advocate for the art activist tradition that radically—and, at times, deliriously—entangles the visual arts with political struggles.

This book examines a corpus of frenetic novels – by Balzac, Barbey d'Aurevilly, Zola, Huysmans, Bloy and Bernanos – that foreground the motif of fever within a recurring masterplot: a pious young woman, just discovering her sexuality, finds herself torn between two father-figures, a doctor (typically a blood relative, often the biological father) and a priest (the spiritual father). She contracts a disease of uncertain origin, made manifest by a series of fevers that require interpretation in the light of contemporary religious, medical and literary discourses. Manzini traces the motifs of fever and frenzy back to Rousseau, the Gothic novel and Frenetic Romanticism, as well as forward to their recuperation within Surrealism, in order to produce an original history of Frenetic Catholicism in the age of realism.

The Scottish philosopher David Hume is commonly understood as the original proponent of the "end of philosophy." In this powerful new study, Donald Livingston completely revises our understanding of Hume's thought through his investigation of Hume's distinction between "true" and "false" philosophy. For Hume, false philosophy leads either to melancholy over the groundlessness of common opinion or delirium over transcending it, while true philosophy leads to wisdom. Livingston traces this distinction through all of Hume's writings, providing a systematic pathology of the corrupt philosophical consciousness in history, politics, philosophy, and literature that characterized Hume's own time as well as ours.

By demonstrating how a philosophical method can be used to expose the political motivations behind intellectual positions, historical events, and their subsequent interpretations, Livingston revitalizes Hume's thought and reveals its relevance for contemporary dicussions of politics, nationalism, and ideology for the first time.