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Acknowledgments -- Introduction -- 1. For A Critique of Philosophy -- Introduction -- 1.1. The Lesson of Althusser -- 1.2. The Lessons of May -- 1.3. Lessons From the Archives -- 1.4. Lessons on Philosopher-Kings -- 1.5. Lessons From Equality -- Conclusion -- 2. Politics By Process of Elimination -- Introduction -- 2.1. On the Terrain of Policed Consensus -- 2.2. The Aesthetics of Counting -- 2.3. Supposing, Verifying, and Demonstrating Equality -- 2.4. Disputing Subjects and Litigious Objects: Politics as Dissensus -- 2.5. The Subjective Process of Politics -- Conclusion -- 3. Retrieving the Politics of Aesthetics -- Introduction -- 3.1. Analyzing the Part of Art -- 3.2. Three Regimes of Art -- 3.3. Equality in Art -- 3.4. In Place of Modernity -- 3.5. Against Postmodernity -- 3.6. Art as Dissensus -- Conclusion -- 4. Regimes of Cinema -- Introduction -- 4.1. A Historical Poetics of Cinema -- 4.2. Cinema, the Dream of the Aesthetic Age -- 4.3. The Logic of the Thwarted Fable -- 4.4. Allegories of Modernity: Deleuze and the Use of Hitchcock -- 4.5. Cinema and Its Century: Godard and the Abuse of Hitchcock -- Conclusion -- 5. Beyond Rancière -- Introduction -- 5.1. Sensing Equality? -- 5.2. The Centrality of the Imagination -- 5.3. Inventing the Trans-Subjective Imagination -- Conclusion -- Notes -- Bibliography -- Index

This essay is a critical examination of Jean-François Lyotard's little-known text on the American artist Edward Kienholz, Pacific Wall (Le mur du pacifique). It argues in favor of the experimental methodology that Lyotard developed in his encounter with Kienholz's installation Five Car Stud, suggesting that attention to this aspect of Lyotard's writings might allow us to avoid some of the impasses created by the emphasis upon the sublime aspect of aesthetic experience. Reading Pacific Wall in terms of the problems set out in Lyotard's Libidinal Economy, I contend that one can detect an ethics of thought and commentary at work in these early writings, one according to which the thinker must somehow find a way to imbue his text with a libidinal intensity equal to or greater than the work of art in question.