During the 1990s British philosopher Nick Land's unique work, variously described as rabid nihilism, mad black deleuzianism, and cybergothic, developed perhaps the only rigorous and culturally-engaged escape route out of the malaise of continental philosophy --a route that was implacably blocked by the academy. However, Land's work has continued to exert an influence, both through the British speculative realist philosophers who studied with him, and through the many cultural producers--writers, artists, musicians, filmmakers--who have been invigorated by his uncompromising and abrasive philosophical vision.

Beginning with Land's early radical rereadings of Heidegger, Nietzsche, Kant and Bataille, the volume collects together the papers, talks and articles of the mid-90s--long the subject of rumour and vague legend (including some work which has never previously appeared in print)--in which Land developed his futuristic theory-fiction of cybercapitalism gone amok; and ends with his enigmatic later writings in which Ballardian fictions, poetics, cryptography, anthropology, grammatology and the occult are smeared into unrecognisable hybrids.

Fanged Noumena gives a dizzying perspective on the entire trajectory of this provocative and influential thinker's work, and has introduced his unique voice to a new generation of readers.

Involuntarily sucked into the forcefield of Cute, Amy Ireland and Maya B. Kronic decided to let go, give in, let the demon ride them, and make an accelerationism out of it--only to realize that Cute opens a microcosmic gate onto the transcendental process of acceleration itself.

Joining the swarming e-girls, t-girls, NEETS, anons, and otaku who rescued accelerationism from the double pincers of media panic and academic buzzkill by introducing it to big eyes, fluffy ears, programming socks, and silly memes, they discover that the objects of cute culture are just spinoffs of an accelerative process booping us from the future, rendering us all submissive, breedable, helpless, and cute in our turn. Cute comes tomorrow, and only anastrophe can make sense of what it will have been doing to us.

Evading all discipline, sliding across all possible surfaces, Cute Accelerationism embraces every detail of the symptomatology, aetiology, epidemiology, history, biology, etymology, topology, and even embryology of Cute, joyfully burrowing down into its natural, cultural, sensory, sexual, subjective, erotic, and semiotic dimensions in order to sound out the latent spaces of this Thing that has soft-soaped its way into human culture.

Traversing tangents on natural and unnatural selection, runaway supernormalisation, the collective self-transformation of genderswarming cuties, the hyperstitional cultures of shojo and otaku, denpa and 2D love, and the cute subworlds of aegyo and meng, moé and flatmaxxing, catboys and dogon eggs, bobbles and gummies, vore machines and partial objects, BwOs and UwUs...glomping, snuggling, smooshing and squeeeeing their way toward the event horizon of Cute, donning cat ears and popping bubbles as they go, in this untimely philosophical intensification of an omnipresent phenomenon, having surrendered to the squishiest demonic possession, like, ever, two bffs set out in search of the transcendental shape of cuteness only to realize that, even though it is all around us, we do not yet know what Cute can do.

Seriously superficial and bafflingly coherent, half erudite philosophical treatise, half dariacore mashup, 100 percent cutagion, this compact lil' textual machine is a meltdown and a glow up, as well as a twizzled homage to Deleuze and Guattari's A Thousand Plateaus. Welcome to the kawaiizome: nothing uncute makes it out of the near future, and the cute will very soon no longer be even remotely human.

The End Times are here. The Digital Middle Ages approaches, the plague reaps its deadly harvest, climate apocalypse is around the corner, and fanaticism, fascism, and madness are rampant. The idea that we might gain the upper hand over the dark abyss into which the planet is tumbling is a form of magical thinking, laboring under the delusion that we can subdue eternity with relentless bloodlust, brutish exploitation, abuse of power, and violence. Revolutionary Demonology responds to this ritual of control, typical of what esoteric tradition calls the Dogma of the Right Hand, by reactivating the occult forces of a Left Hand Path that strives for the entropic disintegration of all creation, so as to make peace with the darkness and nourish the Great Beast that will finally break the seals of Cosmic Love.

Unpredictable and fascinating, genuinely bizarre, at times hallucinatory, sullying politics, philosophy, cybertheory, religion, and music alike with its fevered touch, this anthology of occult resistance collects together the communiqués of an arcane group who are already being hailed as the first morbid blossoming of Italian Weird Theory a rogue contingent of theorists, witches, and sorcerers who heretically remix gothic accelerationism with satanic occultism and insurrectional necromancy.

With contributors including Justin Barton, Angus Carlyle, Kodwo Eshun, Steve Goodman, Robin Mackay, Paul Nataraj, and Iain Sinclair, Sonic Faction presents extended lines of thought prompted by two Urbanomic events which explored the ways in which sound and voice can produce new sensory terrains and provoke speculative thought.

Three recent pieces provide the catalyst for a discussion of the potential of the audio essay as medium and method, a machine for intensifying listening and unsettling the boundaries between existing forms: documentary, music, ambient sound, audiobook, field recording, radio play....

Kode9's Astro-Darien (2022) is a sonic fiction about simulation, presenting an alternative history of the Scottish Space Programme, haunted by the ghosts of the British Empire. Justin Barton and Mark Fisher's On Vanishing Land (2006) is a dreamlike account of a coastal walk that expands into questions of modernity, capitalism, fiction, and the micropolitics of escape. Robin Mackay's By the North Sea (2021) is a meditation on time, disappearance, and loss as heard through the fictions of Lovecraft, Ccru, and the spectre of Dunwich, the city that vanished beneath the waves.

Alongside photographic documentation of the events and edited transcripts of the artists' discussions, Sonic Faction brings together contributors with diverse perspectives to address the question of the audio essay and to imagine its future.

Contributors
Lawrence Abu Hamdan, Lendl Barcelos, Justin Barton, Ben Borthwick, Angus Carlyle, Matt Colquhoun, Jessica Edwards, Kodwo Eshun, Steve Goodman, Ayesha Hameed, Eleni Ikoniadou, Lawrence Lek, Robin Mackay, Paul Nataraj, Emily Pethick, Iain Sinclair, Shelley Trower

Approaching the comic medium as a supercollider for achieving maximum abstraction, in Chronosis artist Keith Tilford and philosopher Reza Negarestani create a graphically stunning and conceptually explosive universe in which the worlds of pop culture, modern art, philosophy, science fiction, and theoretical physics crash into one another.

Taking place after the catastrophic advent of the birth of time, Chronosis narrates the story of a sprawling multiverse at the center of which monazzeins, the monks of an esoteric time-cult, attempt to build bridges between the many fragmented tribes and histories of multiple possible worlds. Across a series of dizzying overlapping stories we glimpse worlds where time flows backward, where the universe can be recreated every five minutes, or where rigid facts are washed away by the tides of an infinite ocean of possibility.

A unique fusion of comics culture and philosophical cogitation, this conceptually and visually mind-expanding tale takes the reader on a dizzying rollercoaster ride through time, space, and thought.

This volume contains the entire Chronosis series in full color, along with additional background materials including early sketches, script notes, and alternative covers.

Works in sound studies continue to seek out sound itself--but, today, when the aesthetic can claim no autonomy and the agency of both artist and audience is socially constituted, why not explore the social mediation already present within our experience of the sonorous? In this work, artist, musician, performer, and theorist Mattin sets out an understanding of alienation as a constitutive part of subjectivity and as an enabling condition for exploring social dissonance--the discrepancy between our individual narcissism and our social capacity.

Mattin's theoretical investigation is intertwined with documentation of a concrete experiment in the form of an instructional score (performed at documenta 14, 2017, in Athens and Kassel) which explores these conceptual connotations in practice, as players use members of the audience as instruments, who then hear themselves and reflect on their own conception and self-presentation. Social Dissonance claims that, by amplifying alienation in performance and participation in order to understand how we are constructed through various forms of mediation, we can shift the emphasis from the sonic to the social, and in doing so, discover for ourselves that social dissonance is the territory within which we already find ourselves, the condition we inhabit.

Florian Hecker is an artist whose work is realized through the technical manipulation of sensory data. By utilizing machinic scales and registers, Hecker creates environments marked at once by overwhelming complexity and vexing subtlety, where audience members are led to dwell on the outer limits of their own perceptual capacities.

Resynthesizers took place in Laurel Canyon, Los Angeles, in the Fitzpatrick-Leland House, a tri-level residence designed by Rudolf Schindler and built in 1936. Centered around a trio of compositions produced using a novel algorithm for texture synthesis, the exhibition also featured three olfactory accords selected by Marc vom Ende and Philip Kraft of Symrise, and three electrophoretic displays transmitting a libretto by Robin Mackay.

The molecular construction of sensory experience enabled by the technical manipulation and synthesis of materials emerges as a central theme of Resynthesizers. The regime of these 'immaterials' disjoins sensation from inherited conceptual models, and in the encounter with its resyntheses we are challenged to reintegrate sense and formulate new concepts.

Designed by NORM, Zurich, this meticulously assembled document features exhibition documentation by Fredrik Nilsen Studio and data visualizations by Axel Roebel alongside essays by Wendy Hui Kyong Chun and Alex H. Barnett, Marc Vom Ende and Philip Kraft, Robin Mackay, and Luciana Parisi.

Over a decade ago, Gilles Grelet left the city to live permanently on the sea, in silence and solitude, with no plans to return to land, rarely leaving his boat Théorème. An act of radical refusal, a process of undoing one by one the ties that attach humans to the world, for Grelet this departure was also inseparable from an ongoing campaign of anti-philosophy. Like François Laruelle's ordinary man or Rousseau's solitary walker, Grelet's solitary sailor is a radical theoretical figure, herald angel of an existential rebellion against the world and against philosophy's world-thought, point zero of an anti-philosophy as rigorous gnosis, and apprentice in the herethics of navigation.

More than a set of scattered reflections, less than a system of thought, Theory of the Solitary Sailor is a gnostic device. It answers the supposed necessity of realizing the world-thought that is philosophy (or whatever takes its place) with a steadfast and melancholeric refusal. As indifferently serene and implacably violent as the ocean itself, devastating for the sufficiency of the world and the reign of semblance, this is a lived anti-philosophy, a perpetual assault waged from the waters off the coast of Brittany, amid sea and wind.

Fiction. Crime/dark comedy. Full length novel set in Victorian Cornwall. A crime/ mystery laced with dark outrageous humour set in rural Cornwall. A family of dysfunctional aristocrats mired in sexual intrigue, blackmail and all manner of skulduggery.

Two detectives trying to track down a ruthless fiend among a sea of red herrings before the killing starts. What happens when you can't separate the hunted from the hunter?

From forecasts of disastrous climate change to prophecies of evil AI superintelligences and the impending perils of genome editing, our species is increasingly concerned with the prospects of its own extinction. With humanity's future on this planet seeming more insecure by the day, in the twenty-first century, existential risk has become the object of a growing field of serious scientific inquiry. But, as Thomas Moynihan shows in X-Risk, this preoccupation is not exclusive to the post-atomic age of global warming and synthetic biology. Our growing concern with human extinction itself has a history.

Tracing this untold story, Moynihan revisits the pioneers who first contemplated the possibility of human extinction and stages the historical drama of this momentous discovery. He shows how, far from being a secular reprise of religious prophecies of apocalypse, existential risk is a thoroughly modern idea, made possible by the burgeoning sciences and philosophical tumult of the Enlightenment era. In recollecting how we first came to care for our extinction, Moynihan reveals how today's attempts to measure and mitigate existential threats are the continuation of a project initiated over two centuries ago, which concerns the very vocation of the human as a rational, responsible, and future-oriented being.

If the built environment is a record of our modes of organization and the compromises we make in order to live together, then what are we to make of the plethora of Europe Squares, Europa Places, Places de l'Europe, and Europaplatzes? Public spaces that connect numerous disparate towns and cities through a supersite called Europe, they may appear as avatars of an idea in crisis, as eurocentric values and the concept of Europe as a unified political space are attacked and eroded from all sides.

Atlas Europe Square documents a body of work by Swiss artist Yves Mettler who, since 2003, has engaged in an ongoing mapping and documentation of these sites, along with a series of projects triangulating between particular squares, interrogating their differing architectural, environmental, and public functions, and what they tell us about the ideality of Europe and the (im)possibility of its concrete instantiation.
Here this work is extended into reflections on the relationship between art and public space, site-specificity, and the artist's own implication in the imaginary of Europe as he becomes enmeshed in a network of projects, funds, and public bodies that seek to promote European culture through art.
Alongside extensive photographic documentation, Atlas Europe Square contains texts by the artist alongside essays by Reza Negarestani, Teresa Pullano, Laurent Thévenot, and Stephen Zepke, discussing Mettler's work.

The trafficking of children in Victorian London is paramount to a story that is as brutal as it is sad, as miserable as it is joyous, as grotesque as it is beautiful. It also a tale of revenge and redemption.

Two dogged Scotland Yard detectives hunting for the killer of an upmarket prostitute are side tracked to also hunt down twin brothers William and Robert Boyle.

Having returned to London after a five-year absence the twins are determined to track down and violently punish anyone who crossed their paths when they were children. Top of their list are all those who trafficked them and two policemen who viciously birched them.

But it is not only the detectives who are hunting the Boyle's, so is Joe Straw, a notorious private detective who will go to any lengths to protect his upper-class paymasters. Straw is as cold and ruthless as his prey.

This is a tale of the social injustices of the times where the poor are there to be used, abused, and thrown away by a callous establishment interested only in covering up its perverted secret twilight world.

Follow the detectives as they pursue all manner of bizarre enquiries in their quest to not only catch the twins but to also expose the pimps, madams, and their vile clientele to the full force of the law. Mixed with light and often very dark humor this tale will grip you by the lapels and drag you through the slums, upmarket brothels, and Streets of London.

A wealth of characters are packed into an easy to read full length novel that will enthral you, horrify you, amuse you, and if you have a kind heart it may break it.

The great poets and thinkers of modernity described a situation we still inhabit today: the catastrophic undermining of all foundations, the disorienting relativization of all reference points, the prospect of abandonment to chance and contingency alone--the shipwreck of Mallarm 's Coup de d s. In this precise and poetic work of philosophy, Gabriel Catren sketches out a new phenoumenodelic solution to this momentous ungrounding, defiantly refusing both unrestrained contingency and arbitrary refoundation.

Mobilizing a formidable knowledge of the major currents of modern thought, deftly articulating Kantian transcendentalism and Spinozan immanentism, phenomenological reduction and scientific realism, Catren argues that the projects oriented by the infinite ideas of reason (Truth, Beauty, Justice, Love) need not be abandoned in the face of the exquisite crisis of modernity. Instead, the shipwreck is to be understood as a suspension of finite subjectivity in the fullness of a phenoumenodelic pleroma, an atonal milieu ringing with unheard-of possibilities.

Announcing an ambitious program for the renewal of transcendental philosophy, in Pleromatica Catren recomposes the primary elements of modern thought into a startling new configuration, introducing a vivid constellation of new concepts with which to map out and navigate the vast space of this worldless daydream.

Already there's several prostitutes hanging around, one's even hanging out of a third-story window by her neck.

From the slums of Victorian London to the very echelons of high society and everywhere in between, follow the exploits of two of Scotland Yard's finest; Detective Inspector Gerald Potter and Detective Sergeant Richard Head, as in between getting drunk and helping themselves to 'rewards' they ruthlessly pursue some of the vilest criminals you have ever read about.

Taste the poverty and despair of every day slum life along side the vibrant chaos that fuels the machine of survival.

A wealth of characters frequents these off the wall, seriously black comedies; smelly urchins, prostitutes, all manner of criminals, lords and ladies alike.

The mad, bad, and truly eccentric.

Given the highly coercive and heavily surveilled dynamics of the present moment, when the tremendous pressures exerted by capital on contemporary life produces an aggressively normative official reality, the question of the construction of other possible worlds is crucial and perhaps more urgent than ever.

This collection brings together different perspectives from the fields of philosophy, aesthetics, and art to discuss the mechanisms through which possible worlds are thought, constructed, and instantiated, forcefully seeking to overcome the contemporary moment's deficit of conceptualizing alternate realities--its apparent fear of imagining possible new and compelling futures--to begin the arduous task of producing the political dynamics necessary for actual construction.

Implicit in this dynamic between the imaginary and the possible is the question of how thinking intertwines with both rationality and the inherited contingencies and structures of the world. With no ascertainable ground on which to build, with no confidence in any given that could guarantee our labors, how do we even envisage the construction site(s) of possible worlds, and with what kind of diagrams, tools, and languages can we bring them into being?

Matisse and Duchamp seem to incarnate ideal poles of the tension internal to modern art as it plunged into crisis the idea of the image--a polemical operation that opened the way to contemporary art's auto-problematization of experimental constructivism. Where Matisse subverted the aesthetic regime by bringing painting out of itself to invest its environment in a Bergsonian energetics of color, Duchamp cuts it off from the plastic arts through a reversal of Bergson's in-the-making. The readymade captures a literalized signifier of this perspective. Duchamp Looked At is an extraordinarily rich philosophical study that offers a startling new account of the dis/continuity between the problems of contemporary art and the new articulations Duchamp fabricated between image and idea, science and art, painting and language.

Alliez and Bonne's meticulous archaeological survey rediscovers the real problems and motivations of Duchamp-thought through a close analysis of his entire oeuvre: from the Nudes in which the problem of representing movement is gradually displaced into the realm of the virtual, the image disqualified in favor of the diagram, to the pataphysical sciences of chance and the particular, the readymades, the Large Glass and tant donn s--and beyond, as the artist carbonizes the gallery with 1200 Sacks of Coal and ties it up with Miles of String, in installations that take Duchamp beyond Duchamp.

Rochelle Goldberg's Cannibal Actif devours the line between artist book and archive. Each page bracketing a visual thought that leaks off the page seeping through to the next, proposing a structural challenge to the visual, material, and narrative format through which it unfolds. The book's pale cover will wear the dust and dirt of its surroundings, collected over time, while extreme varnish on the pages within will capture the readers residual touch. Thick pools of crude oil envelope bathers in Baku, spilling off their bodies onto a floodline, or further seeping out as a glossy stream of text. Oil poured over gears and out of portals does not stop at the page's edge. These spills are free of constraint--the drainage collects elsewhere onto another page, as a new image: a face, a hand, a snake. The arc of Goldberg's story traces the cannibal's consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, while the material limit of ink on a page has been pushed to reflect this narrative track. Overlapping sequences of chroma centric blacks and rusty metallics bend and bleed to offer a psychedelic saliva that lubricates a hardened message, then tempered by soft gradients of reds, greens and pinks, reflecting the visceral membrane of a jellyfish, at once separating and joining two cavities--ingesting and secreting, in rhythm. Contributions by art historian Leah Pires, publisher Frances Perkins, and the artist crack open previous helpings of thoughts served as varnished murmurs, bold words now permitted to ooze across double-page spreads, a regurgitated message we too can consume.

A panoramic survey of the vast spectrum of modern and contemporary mathematics and the new philosophical possibilities they suggest, this book gives the inquisitive non-specialist an insight into the conceptual transformations and intellectual orientations of modern and contemporary mathematics.

The predominant analytic approach, with its focus on the formal, the elementary and the foundational, has effectively divorced philosophy from the real practice of mathematics and the profound conceptual shifts in the discipline over the last century. The first part discusses the specificity of modern (1830-1950) and contemporary (1950 to the present) mathematics, and reviews the failure of mainstream philosophy of mathematics to address this specificity. Building on the work of the few exceptional thinkers to have engaged with the real mathematics of their era (including Lautman, Deleuze, Badiou, de Lorenzo and Ch telet), Zalamea challenges philosophy's self-imposed ignorance of the making of mathematics.

In the second part, thirteen detailed case studies examine the greatest creators in the field, mapping the central advances accomplished in mathematics over the last half-century, exploring in vivid detail the characteristic creative gestures of modern master Grothendieck and contemporary creators including Lawvere, Shelah, Connes, and Freyd.

Drawing on these concrete examples, and oriented by a unique philosophical constellation (Peirce, Lautman, Merleau-Ponty), in the third part Zalamea sets out the program for a sophisticated new epistemology, one that will avail itself of the powerful conceptual instruments forged by the mathematical mind, but which have until now remained largely neglected by philosophers.

The mediascapes of late capitalism reconfigure erotic responses and trigger primal aggression; under constant surveillance, we occupy simulations of ourselves, private estates on a hyperconnected globe; fictions reprogram reality, memories are rewritten by the future...

Fleeing the excesses of 1990s cyberculture, a young researcher sets out to systematically analyse the obsessively reiterated themes of a writer who prophesied the disorienting future we now inhabit. The story of his failure is as disturbingly psychotropic as those of his magus--J.G. Ballard, prophet of the post-postmodern, voluptuary of the car crash, surgeon of the pathological virtualities pulsing beneath the surface of reality.

Plagued by obsessive fears, defeated by the tedium of academia, yet still certain that everything connects to Ballard, his academic thesis collapses into a series of delirious travelogues, deranged speculations and tormented meditations on time, memory, and loss. Abandoning literary interpretation and renouncing all scholarly distance, he finally accepts the deep assignment that has run throughout his entire life, and embarks on a rogue fieldwork project: Applied Ballardianism, a new discipline and a new ideal for living. Only the darkest impulses, the most morbid obsessions, and the most apocalyptic paranoia can uncover the technological mutations of inner space.

An existential odyssey inextricably weaving together lived experience and theoretical insight, this startling autobiographical hyperfiction surveys and dissects a world where everything connects and global technological delirium is the norm--a world become unmistakably Ballardian.

How does the patience and rigour of philosophical explanation fare when confronted with an irrepressible desire to commune with the object and to escape the subjective perplexities of reference, meaning, and sense?

Moving beyond the hype and the inflated claims made for Object-Oriented thought, Peter Wolfendale considers its emergence in the light of the intertwined legacies of twentieth-century analytic and Continental traditions.

Both a remarkably clear explication of the tenets of OOP and an acute critique of the movement's ramifications for philosophy today, Object-Oriented Philosophy is a major engagement with one of the most prevalent trends in recent philosophy.