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In The Age of Experiences, Benjamin Kline Hunnicutt examines how the advance of happiness science is impacting the economy, making possible new experience-products that really make people happy and help forward-looking businesses expand and develop new technologies. In today’s marketplace there is less interest in goods and services and more interest in buying and selling personal improvements and experiences. Hunnicutt traces how this historical shift in consumption to the “softer” technologies of happiness represents not only a change in the modern understanding of progress, but also a practical, economic transformation, profoundly shaping our work and the ordering of our life goals. 

Based on incisive historical research, Hunnicutt demonstrates that we have begun to turn from material wealth to focus on the enrichment of our personal and social lives.  The Age of Experiences shows how industry, technology, and the general public are just beginning to realize the potential of the new economy. Exploring the broader implications of this historical shift, Hunnicutt concludes that the new demand for experiences will result in the reduction of work time, the growth of jobs, and the regeneration of virtue—altogether an increasingly healthy public life.

John Dewey’s Experience and Nature has been considered the fullest expression of his mature philosophy since its eagerly awaited publication in 1925.Irwin Edman wrote at that time that “with monumental care, detail and completeness, Professor Dewey has in this volume revealed the metaphysical heart that beats its unvarying alert tempo through all his writings, whatever their explicit themes.” In his introduction to this volume, Sidney Hook points out that “Dewey’s Experience and Nature is both the most suggestive and most difficult of his writings.”

The meticulously edited text published here as the first vol­ume in the series The Later Works of John Dewey, 1925–1953spans that entire period in Dewey’s thought by including two important and previously unpublished documents from the book’s history: Dewey’s unfinished new introduction written between 1947and 1949,edited by the late Joseph Ratner, and Dewey’s unedited final draft of that introduction written the year before his death. In the intervening years Dewey realized the impossibility of making his use of the word “experience” understood. He wrote in his 1951draft for a new introduction: “Were I to write (or rewrite) Experience and Nature today I would entitle the book Culture and Nature and the treatment of specific subject-matters would be correspondingly modified. I would abandon the term ‘experience’ because of my growing realiza­tion that the historical obstacles which prevented understand­ing of my use of ‘experience’ are, for all practical purposes, insurmountable. I would substitute the term ‘culture’ because with its meanings as now firmly established it can fully and freely carry my philosophy of experience.”

Art as Experience evolved from John Dewey’s Willam James Lectures, delivered at Harvard University from February to May 1931.

In his Introduction, Abraham Kaplan places Dewey’s philosophy of art within the context of his pragmatism. Kaplan demonstrates in Dewey’s esthetic theory his traditional “movement from a dualism to a monism” and discusses whether Dewey’s viewpoint is that of the artist, the respondent, or the critic.

Originally published in 1966, this pivotal work of Mikel Dufrenne revises Kant’s notion of a priori, a concept previously given insufficient attention by philosophers, to realize a rich understanding that finally does justice to one of Kant’s most troubling cruxes. Following the Husserlian analytics of phenomenology, Dufrenne postulates a dualistic conception of the a priori as a structure that expresses itself outside the human subject, but also as a virtual knowledge that points to a philosophy of immediate apprehension or feeling. A friend of Paul Ricoeur, with whom he was detained as a prisoner of war during World War II, Dufrenne’s work until now has been sorely overlooked by American philosophers.

Wide-ranging essays and experimental prose forcefully demonstrate how digital media and computational technologies have redefined what it is to be human

Over the past decade, digital media has expanded exponentially, becoming an essential part of daily life. The stimulating essays and experimental compositions in The User Unconscious delve into the ways digital media and computational technologies fundamentally affect our sense of self and the world we live in, from both human and other-than-human perspectives.

Critical theorist Patricia Ticineto Clough’s provocative essays center around the motif of the “user unconscious” to advance the challenging thesis that that we are both human and other-than-human: we now live, think, and dream within multiple layers of computational networks that are constantly present, radically transforming subjectivity, sociality, and unconscious processes.

Drawing together rising strains of philosophy, critical theory, and media studies, as well as the political, social, and economic transformations that are shaping the twenty-first-century world, The User Unconscious points toward emergent crises and potentialities in both human subjectivity and sociality. Moving from affect to data, Clough forces us to see that digital media and computational technologies are not merely controlling us—they have already altered what it means to be human.

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from Thought in the Act

Combining philosophy and aesthetics, Thought in the Act is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art.

Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. Thought in the Act enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics.

This book is the only contemporary, systematic study of the relationship of time and conscious experience. Peter K. Mclnerney examines three tightly interconnected issues: how we are able to be conscious of time and temporal entities, whether time exists independently of conscious experience, and whether the conscious experiencer exists in time in the same way that ordinary natural objects are thought to exist in time. Insight is drawn from the views of major phenomenological and existential thinkers on these issues.

Building on a detailed explication and critique of the views of Kant, Husserl, Heidegger, and Sartre, Mclnerney develops and defends his own positions. He argues that a revised version of Husserl’s three-feature theory of time-consciousness provides the best explanation of our awareness of temporal features, but that an independently real time is necessary to explain our experience of temporal passage. He also shows that human existence has some special temporal features in addition to those it shares with other entities. Time-consciousness, the conscious exercise of powers, and personal identity through time require that any temporal part of human existence be defined by and "reach across" to earlier and later parts.

Women and children have been bartered, pawned, bought, and sold within and beyond Africa for longer than records have existed. This important collection examines the ways trafficking in women and children has changed from the aftermath of the “end of slavery” in Africa from the late nineteenth century to the present.

The formal abolition of the slave trade and slavery did not end the demand for servile women and children. Contemporary forms of human trafficking are deeply interwoven with their historical precursors, and scholars and activists need to be informed about the long history of trafficking in order to better assess and confront its contemporary forms. This book brings together the perspectives of leading scholars, activists, and other experts, creating a conversation that is essential for understanding the complexity of human trafficking in Africa.

Human trafficking is rapidly emerging as a core human rights issue for the twenty-first century. Trafficking in Slavery’s Wake is excellent reading for the researching, combating, and prosecuting of trafficking in women and children.

Contributors: Margaret Akullo, Jean Allain, Kevin Bales, Liza Stuart Buchbinder, Bernard K. Freamon, Susan Kreston, Benjamin N. Lawrance, Elisabeth McMahon, Carina Ray, Richard L. Roberts, Marie Rodet, Jody Sarich, and Jelmer Vos.