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A group of squatters occupy an empty flat in a condemned tower in London, aiming to unite their neighbors to resist the demolition. Weaving together confused memories, Welcome Home moves between the squat and our protagonist''s work in a care home. The squatters aim to bring all the residents together to resist the tower''s demolition. But it''s not as easy as that. Rain is in love with her housemate Eva, who unfortunately happens to be her best friend''s girlfriend. She can''t stand Will and his try-hard activism, and is avoiding Yaz, who used to tease her at school and lives in the tower. Her life in the squat is repeatedly interrupted by her work in a care home where she has grown particularly close to Doris, a resident with dementia, who used to live in their flat. Through Doris''s stories we discover the history of the tower and another, older love triangle.

Kicks, Spits, and Headers documents two years of football by a self-proclaimed accidental footballer. Coming of age during the student and worker revolt of the 1960s-1970s, the Italian ''hot autumn,'' Paolo Sollier brought these countercultural energies and Marxist politics on to the football pitch, inadvertently becoming an icon along the way. Here he describes, in lucid and humorous prose, the challenges of trying make sense of and balance the tensions and contradictions between being a professional footballer and a political militant.

Building on the ideas Harney and Moten developed in The Undercommons, All Incomplete extends the critical investigation of logistics, individuation and sovereignty. It reflects their chances to travel, listen and deepen their commitment to and claim upon partiality. All Incomplete studies the history of a preference for the force and ground and underground of social existence.

Formless Formation is an experimental project conceived and co-authored by two performance theorists working in critical aesthetics and political thought. The book is an insurgent revolt, walking side by side with plural and planetary anticolonial forces organising against debt, expropriative extractive capital, environmental catastrophe, and the militarised policing of people and borders. It is in direct conversation with all Indigenous, Black, Brown, ecological, queer, diasporic movements and struggles against capitalist predatory formations.

Kant sought to contain the ancient fear and terror of the natural world in his concept of the sublime. He argued that with human reason we could safely confront an uncontrolled and powerful natural world. But today we no longer have the luxury of the Kantian sublime as we face the oppressive claustrophobic horror of drastic global climate change. A new sublime incorporating the experience of awe and immensity coupled with a profound respect for the presence of a great and unpredictable force of nature can shape our response to the Anthropocene

In a large factory in Milan in the mid-70s, a few dozen workers organized themselves against both the management and the unions in an autonomous Workers' Political Committee. Soon, this Red Guard consisted of hundreds of workers fighting against layoffs and relocation. The Committee did not stay shut up within the walls of the factory. It participated in numerous other struggles, such as strikes and demonstrations, which were raging across the whole of Italy. Crucially, it took part in attempts to unify the movement of workers' committees on a regional level. And it also participated in the radical struggle against inflation, where workers refused to pay ever increasing prices. This movement of autoreduction famously inspired Dario Fo's play Can't Pay? Won't Pay! >

A guide to using design principles to inform and shape radical politics in the quest for a more just and equal world.

The Beautiful Warriors: Technofeminist Practice in the 21st Century brings together seven current technofeminist positions from the fields of art and activism. In very different ways, they expand the theories and practices of 1990''s cyberfeminism and thus react to new forms of discrimination and exploitation. Gender politics are negotiated with reference to technology, and questions of technology are combined with questions of ecology and economy. The different positions around this new techno-eco-feminism understand their practice as an invitation to take up their social and aesthetic interventions, to join in, to continue, and never give up. Contributions from Christina Grammatikopoulou, Isabel de Sena, Femke Snelting, Cornelia Sollfrank, Spideralex, Sophie Toupin, hvale vale, Yvonne Volkart.

Red Days presents how music and action, music and discourse, experienced a profound re-functioning as definitions of the popular unmoored themselves from the condescending judgements of post-1950s high culture and the sentiment of the old popular culture and the musicologically conformist rock ''n'' roll seeking to displace it.

Arranged from a partisan perspective in the era of the uprising, i hate war, but i hate our enemies even more is an unconventional textual object that uses d©tournement, collage, and experimental writing against reactionary liberalism, capitalism, and white supremacy. Critical theory, police propaganda, militant cinema, country songs, activist histories, and white reactionary protests are used as raw material to stage ideological juxtapositions.

A unique and provocative anthology of lesbian writing, guaranteed to soothe the soulful and savage the soulless. Includes Adele Bertei, Holly Hughes, Sapphire, Laurie Weeks, and many more.Borrowing its name from the notorious '60s Ed Sanders magazine, Fuck You: A Magazine of the Arts, the editors have figured a way to rehone its countercultural and frictional stance with style and aplomb. A unique and provocative anthology of lesbian writing, guaranteed to soothe the soulful and savage the soulless. Includes Adele Bertei, Holly Hughes, Sapphire, Laurie Weeks, and many more.

A forgotten gem of French literature, Duvert's version of The Lord of the Flies: an indictment against the violence embedded in a middle-class community.

A new political critique from the authors of The Coming Insurrection, calling for a "destituent process" of outright refusal and utter indifference to government.

A novel that is a meditation on friendship, love, obsession, power, and abuse, by turns hyperrealist and phantasmagoric, recalling the work of Sade and Bataille.

A critique of capital through the lens of war, and a critique of war through the lens of the revolution of 1968."We are at war,” declared the President of the French Republic on the evening of November 13, 2015. But what is this war, exactly?In Wars and Capital, Éric Alliez and Maurizio Lazzarato propose a counter-history of capitalism to recover the reality of the wars that are inflicted on us and denied to us. We experience not the ideal war of philosophers, but wars of class, race, sex, and gender; wars of civilization and the environment; wars of subjectivity that are raging within populations and that constitute the secret motor of liberal governmentality. By naming the enemy (refugees, migrants, Muslims), the new fascisms establish their hegemony on the processes of political subjectivation by reducing them to racist, sexist, and xenophobic slogans, fanning the flames of war among the poor and maintaining the total war philosophy of neoliberalism.Because war and fascism are the repressed elements of post-'68 thought, Alliez and Lazzarato not only read the history of capital through war but also read war itself through the strange revolution of '68, which made possible the passage from war in the singular to a plurality of wars—and from wars to the construction of new war machines against contemporary financialization. It is a question of pushing "'68 thought” beyond its own limits and redirecting it towards a new pragmatics of struggle linked to the continuous war of capital. It is especially important for us to prepare ourselves for the battles we will have to fight if we do not want to be always defeated.

Tales of life in North Africa that flirt with strategies of revelation and concealment, by the first openly gay writer to be published in Morocco.Tangier is a possessed city, haunted by spirits of different faiths. When we have literature in our blood, in our souls, it's impossible not to be visited by them.—from Another MoroccoIn 2006, Abdellah Taïa returned to his native Morocco to promote the Moroccan release of his second book, Le rouge du tarbouche (The Red of the Fez). During this book tour, he was interviewed by a reporter for the French-Arab journal Tel Quel, who was intrigued by the themes of homosexuality she saw in his writing. Taïa, who had not publically come out and feared the repercussions for himself and his family of doing so in a country where homosexuality continues to be outlawed, nevertheless consented to the interview and subsequent profile, "Homosexuel envers et contre tous” ("Homosexual against All Odds”). This interview made him the first openly gay writer to be published in Morocco.Another Morocco collects short stories from Taïa's first two books, Mon Maroc (My Morocco) and Le rouge du tarbouche, both published before this pivotal moment. In these stories, we see a young writer testing the porousness of boundaries, flirting with strategies of revelation and concealment. These are tales of life in a working-class Moroccan family, of a maturing writer's fraught relationship with language and community, and of the many cities and works that have inspired him. With a reverence for the subaltern—for the strength of women and the disenfranchised—these stories speak of humanity and the construction of the self against forces that would invalidate its very existence. Taïa's work is, necessarily, a political gesture.

One of the first comprehensive treatments of Deleuzian thought.There is always something schizophrenic about logic in Deleuze, which represents another distinctive characteristic: a deep perversion of the very heart of philosophy. Thus, a preliminary definition of Deleuze's philosophy emerges: an irrational logic of aberrant movements.—from Aberrant MovementsIn Aberrant Movements, David Lapoujade offers one of the first comprehensive treatments of Deleuzian thought. Drawing on the entirety of Deleuze's work as well as his collaborations with Félix Guattari, from the "transcendental empiricism” of Difference and Repetition to the schizoanalysis and geophilosophy of Anti-Oedipus and A Thousand Plateaus, Lapoujade explores the central problem underlying the delirious coherence of Deleuze's philosophy: aberrant movements. These are the movements that Deleuze wrests from Kantian idealism, Nietzsche's eternal return, and the nonsense of Lewis Carroll; they are the schizophrenic processes of the unconscious and the nomadic line of flight traversing history—in short, the forces that permeate life and thought. Tracing and classifying their "irrational logics” represent the quintessential tasks of Deleuzian philosophy. Rather than abstract notions, though, these logics constitute various modes of populating the earth—involving the human as much as the animal, physical, and chemical—and the affective, mental, and political populations that populate human thought. Lapoujade argues that aberrant movements become the figures in a combat against the forms of political, social, philosophical, aesthetic, and scientific organization that attempt to deny, counter, or crush their existence. In this study of a thinker whose insights, theoretical confrontations, and perverse critiques have profoundly influenced philosophy, literature, film, and art over the last fifty years, Lapoujade invites us to join in the discordant harmonies of Deleuze's work—and in the battle that constitutes the thought of philosophy, politics, and life.

The complete art world story/essays of the fictional Madame Realism, collected for the first time.The Complete Madame Realism and Other Stories gathers together Lynne Tillman's groundbreaking fiction/essays on culture and places, monuments, artworks, iconic TV shows, and received ideas, written in the third person to record the subtle, ironic, and wry observations of the playful but stern "Madame Realism.”Through her use of a fictional character, Tillman devised a new genre of writing that melded fiction and theory, sensation, and critical thought, disseminating her third-person art writer's observations in such magazines as Art in America and in a variety of art exhibition catalogs and artist books. Two decades after the original publication of these texts, her approach to investigation through embodied thought has been wholly absorbed by a new generation of artists and writers. Provocative and wholly pleasurable, Tillman's stories/essays dissect the mundane with alarming precision. As Lydia Davis wrote of her work, "Our assumptions shift. The every day becomes strange, paradox is embraced, and the unexpected is always around the corner.”This new collection also includes the complete stories of Tillman's other persona, the quixotic author Paige Turner (whose investigation of the language of love overshoots any actual experience of it), and additional stories and essays that address figures such as the "Translation Artist” and Cindy Sherman.

First cross-disciplinary collection exploring the anarcho-punk scene.

Occupation Culture is the story of a journey through the world of recent political squatting in Europe, told by a veteran of the 1970s and '80s New York punk art scene. It is also a kind of scholar adventure story. Alan W. Moore sees with the trained eye of a cultural historian, pointing out pasts, connections and futures in the creative direct action of today's social movements. Occupation Culture is based on five years of travel and engaged research. It explicates the aims, ideals and gritty realities of squatting. Despite its stature as a leading social movement of the late twentieth century, squatting has only recently received scholarly attention. The rich histories of creative work that this movement enabled are almost entirely unknown.

Raunig develops a philosophy of dividuality as a way of addressing contemporary modes of production and forms of life.The animal of the molecular revolution will be neither mole nor snake, but a drone-animal-thing that is solid, liquid, and a gas.—from DividuumAs the philosophical, religious, and historical systems that have produced the "individual” (and its counterparts, society and community) over the years continue to break down, the age of "dividuality” is now upon us. The roots of the concept of the "dividuum” can be traced back to Latin philosophy, when Cicero used the term to translate the "divisible” in the writings of Epicurus and Plato; later, medieval scholars utilized the term in theological discussions on the unity of the trinity. Grounding himself in the writings of the medieval bishop Gilbert de Poitiers and his extensive commentaries on Boethius, Gerald Raunig charts a genealogy of the concept and develops a philosophy of dividuality as a way of addressing contemporary modes of production and forms of life. Through its components of dispersion, subsistence, and similarity, dividuality becomes a hidden principle of obedience and conformity, but it also brings with it the potential to realize disobedience and noncompliant con/dividualities.Raunig's bad news is that dividuality is responsible for much of the intensified exploitation and enslavement taking place under contemporary machinic capitalism. Algorithms, derivatives, big data, and social media technology all contribute to the rampant expansion of divisive management strategies and desires for self-division. The good news, however, is that this same terrain of dividuality presents an opportunity for a new kind of resistance, one that can be realized in the form of con/division.

A bored twenty-three-year-old woman suddenly leaves her dull suburban job for L.A., becomes Internet-famous, and falls in love—Zelda to a semi-famous Scott.One day, I was not famous, the next day, I was almost famous and the temptation to go wide with that and reject my past was too great. When I was legit famous, it was hard to tell when the change had occurred... If I had been born famous, the moment I would have started engaging in social media, I would have seen this fame, not the rise of it. But first I saw the low numbers, and later, the high ones.—from SurveysWryly mirroring the classic, female coming-of-age narrative, Natasha Stagg's debut traces a few months in the life of Colleen, a twenty-three-year-old woman with almost no attachments or aspirations for her life. Working at an unsatisfying mall job in Tucson, Colleen sleepwalks through depressing office politics and tiresome one-night stands in a desultory way, becoming fully alive only at night when she's online. Colleen attains ambiguous Internet stardom when she's discovered by Jim, a semi-famous icon of masculinity and reclusiveness.When Colleen quits her job and moves to meet Jim in Los Angeles, she immediately falls in love and begins a new life of whirlwind parties and sponsored events. The pair's relationship, launched online, makes them the Scott and Zelda of their generation, and they tour the country, cashing in on the buzz surrounding their romance. But as their fame expands, Colleen's jealousy grows obsessive.

A detailed analysis of how Deleuze and Guattari's work engaged with the upheavals of their time. Often approached through their "micropolitics of desire,” the joint works of Deleuze and Guattari are rarely part of the discussion when classical and contemporary problems of political thought come under scrutiny. Yet if we follow the trajectory from Anti-Oedipus (1972) to A Thousand Plateaus (1980), it becomes clear that these problems were redeveloped during a period of historical transition marked by the end of the wars of decolonization, the transformation of global capitalism, and by recombinations of the forces of collective resistance that were as deep as they were uncertain.In State and Politics, Guillaume Sibertin-Blanc measures how Deleuze and Guattari engage with the upheavals of their time by confronting their thought with its main interlocutor, Marxism, with its epistemological field (historical materialism), with its critical program (the critique of political economy), and with its political grammar (class struggle). Three new hypotheses emerge from these encounters: the hypothesis of the Urstaat, embodying an excess of sovereign violence over the State apparatus and over its political investments; the hypothesis of a power of the "war machine” that States can only ever appropriate partially, and to which they can be subordinated; and the hypothesis of an excess of "destructivism” in capitalist accumulation over its productive organization. These three excesses betray the haunting presence of the period between the wars in the political thought of Deleuze and Guattari, but they also allow Deleuze and Guattari's ideas to communicate with contemporary thinkers of the impolitical. The reader discovers not only a new political theory but also the plurality of ways in which extreme violence—violence capable of destroying politics itself—can arise.

Sharp, acerbic, and humorous writings that approach psychoanalysis and celebrity on a first-name basis, with subjects that range from Oprah Winfrey to William Eggleston.

The changes taking place in our aesthetic and emotional sensibility: a deep mutation in the psychosphere, caused by semio-capitalism.Franco "Bifo” Berardi's newest book analyzes the contemporary changes taking place in our aesthetic and emotional sensibility—changes the author claims are the result of semio-capitalism's capturing of the inner resources of the subjective process: our experience of time, our sensibility, the way we relate to each other, and our ability to imagine a future. Precarization and fractalization of labor have provoked a deep mutation in the psychosphere, and this can be seen in the rise of psychopathologies such as post-traumatic stress disorder, autism, panic, and attention deficit disorder. Sketching out an aesthetic genealogy of capitalist globalization, Berardi shows how we have arrived at a point of such complexity in the semiotic flows of capital that we can no longer process its excessive currents of information. A swarm effect now rules: it has become impossible to say "no.” Social behavior is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.Arguing for disentanglement rather than resistance, Berardi concludes by evoking the myth of La Malinche, the daughter of a noble Aztec family. It is a tale of a translator and traitor who betrayed her own people, yet what the myth portends is the rebirth of the world from the collapse of the old.

A clear-eyed critique of collegiate jurisprudence, as the process of administering student protests and sexual-assault complaints rolls along a Moebius strip of shifting legality.