From which French philosopher's work did John Maus derive the title of the album whose positive response caused him to grow more widely accepted as an outsider artist?
Alain Badiou
Title: We Must Become the Pitiless Censors of Ourselves
Passage: We Must Become the Pitiless Censors of Ourselves is the third album from the American electronic musician John Maus, released in 2011, on Ribbon Music in the United States and Upset the Rhythm in the UK.  Critics met the album with generally favorable reviews.  The title is derived from French philosopher Alain Badiou's "Fifteen Theses on Contemporary Art".
Title: Nebular hypothesis
Passage: The nebular hypothesis is the most widely accepted model in the field of cosmogony to explain the formation and evolution of the Solar System (as well as other planetary systems).  It suggests that the Solar System formed from nebulous material.  The theory was developed by Immanuel Kant and published in his "Allgemeine Naturgeschichte und Theorie des Himmels" ("Universal Natural History and Theory of the Heavens"), published in 1755.  Originally applied to the Solar System, the process of planetary system formation is now thought to be at work throughout the Universe.  The widely accepted modern variant of the nebular hypothesis is the solar nebular disk model (SNDM) or solar nebular model.  It offered explanations for a variety of properties of the Solar System, including the nearly circular and coplanar orbits of the planets, and their motion in the same direction as the Sun's rotation.  Some elements of the nebular hypothesis are echoed in modern theories of planetary formation, but most elements have been superseded.
Title: John Maus
Passage: John Maus (born February 23, 1980) is an American musician, singer, songwriter, composer, and academic from Minnesota.  An early collaborator of Ariel Pink, he has released several albums that incorporate elements of 1980s synth-pop, post-punk, and Medieval music.  He is a former professor of philosophy at the University of Hawaii and his intellectual pursuits are reflected in his style and approach to music.  His first two albums, "Songs" (2006) and "Love Is Real" (2007), generally drew negative reviews upon release.  After the positive response to 2011's "We Must Become the Pitiless Censors of Ourselves", Maus grew more widely accepted as an outsider artist, and there was a critical reevaluation of his earlier work.
We Must Become the Pitiless Censors of Ourselves John Maus