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Reimagining Cinema: Film at Expo 67 ed. by Monika Kin Gagnon, Janine Marchessault (review)

transcendence, difference, the multiple, integration, analogicity, distinction and digitality. Chapter III is dedicated to “The Digital,” and Chapter V to “Computers”; both are among the most interesting in the book thanks to Galloway’s detailed and acute analysis of Deleuze’s philosophy, but exactly because of it, these are also the chapters in which it is possibly most evident that Laruelle’s theoretical building does not add much to what Deleuze has already done. In fact, the main problem the book has is not so much Galloway’s but Laruelle’s: His neologisms and conceptual operations often sound like a solipsistic exercise. Although certain concepts like “cloning” or “the prevent” are undoubtedly attractive, one cannot avoid asking about their theoretical relevance and consistency; and one has often the impression that Laruelle, when not inventing new words, is using the concepts of philosophy to do non-philosophy. Having said this, the book is not only exhaustive in explaining La ruelle’s theoretical construction on philosophy but is also extremely clear in the analysis of other philosophers, mainly Deleuze and Badiou. Galloway concludes his work by giving a synthetic and lucid summary of the whole book, presenting 14 theses based on the previous analysis of Laruelle’s oeuvre, persuasively arguing for the importance of his own philosophical development for further thinking on digital media theory.