François Laruelle’s non-standard philosophy seeks to redefine the conventional modes of thinking, not just in the sphere of philosophy but also in the fields of aesthetics, religion, sociology, and other allied disciplines. In this volume, Laruelle questions the ‘fiction’ of photography by establishing that ‘photo-fiction is precisely the passage from an exemplarily modern aesthetics to a contemporary and inventive aesthetics that conjugates the arts and unfolds them onto-vectorially’ (38–9).