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Cutting up Politics (Part 1)

8/22/2017

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by Oliver Harris
Picture
​Certain things you must take literally if you want to understand.
—William S. Burroughs (3M 133)
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IT IS IMPOSSIBLE TO ESTIMATE THE DAMAGE

The first line of the ‘First Cut-Ups’ published in Minutes to Go (1960) was, according to Brion Gysin, ‘a readymade phrase that simply dropped onto the table; several layers of printed material were laid one on top of the other and cut through with the Stanley blade’, and when he put these pieces together, Gysin laughed out loud ‘because the answers were so apt and so extraordinary’ (Gysin and Wilson 1982:56). Answers presume questions; but in this material practice the order of causality and chronology has to be reversed. Magically, the cut-up text answered Gysin precisely by revealing to him his own question—that is to say: What will be the effect of the cut-up project? Four decades later, the reply he received at the supposed moment of the project’s inception,1 courtesy of his Stanley blade, may still stand: ‘It is impossible to estimate the damage’ (MTG 6).
Although the temptation to generalize is a basic error—to speak of ‘the cut-up’ is to falsify the great range of cut-up procedures, the enormous variety of texts they produced, and the multiplicity of purposes they served, all of which varied over time—this original cut-up is, in its equivocal potency, exemplary. On the one hand, it prophesizes the very powers of prophecy that Burroughs would almost immediately claim for the method;2 on the other, it predicts the very impossibility of predicting the exact outcome of individual cut-up operations or of definitively measuring the efficacy of the project as a whole. Simultaneously, it promises that the method works—in unspecified destructive ways—and yet creates that meaning only in hindsight and only as an open question. When Burroughs looked back on that ‘hectic, portentous time in Paris, in 1959’ toward the end of his last major novel, The Western Lands, he would ponder both the ‘prophetic’ significance of Minutes to Go’s cryptic phrases and the ‘damage’ he thought he was doing, concluding skeptically that it ‘reads like sci-fi’: ‘We all thought we were interplanetary agents involved in a deadly struggle… battles… codes…ambushes. It seemed real at the time. From here, who knows?’ (WL 252).3 From first to last, there is a standoff between claims for the methods’ prophetic and performative power, an equivocation about the productivity of cut-ups as tools of war in ‘a deadly struggle’ that may or may not have existed. 
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This paradox has posed an intractable problem for critics. With very few exceptions,4 they have recycled Burroughs’s claims at face value and sidestepped evaluating not only their internal coherence and consistency but also their validity. Did cut-up methods reveal the future, because events are ‘pre-recorded’, or did they produce events, because the function of writing is to ‘make it happen’? Were they revolutionary weapons or a private delusional fantasy, a kind of therapy or a form of pathology? Did they work? From here, who knows?
Inevitably, the one claim that critics have never taken literally is Burroughs’s original and overriding insistence: that cut-up methods were ‘for everyone’ and ‘experimental in the sense of being something to do. Right here write now. Not something to talk and argue about’ (3M 31). For critics to take Burroughs’s advice—put most bluntly to Allen Ginsberg: ‘Don’t theorize. Try it’ (YL 59)—would this not mean abandoning criticism altogether in favor of practice? Perhaps so. But, short of this, what it must mean is putting the cutup project back onto its material base, and this in turn demands an accurate chronology of its development and promotion. For this reason, the first task is to revise the standard critical verdict on Minutes to Go, the launching manual and manifesto of the method.5 
At first sight—and criticism has never given it a second look— Minutes to Go seems largely irrelevant to what would follow; an exceptional, minor text of crude experimentalism that Burroughs put behind him as he worked on his trilogy of novels, The Soft Machine, The Ticket that Exploded and Nova Express.6 The fundamental problem with this account is that it effectively reverses the historical priorities by abstracting form and content from method. As a result, even the very best critical analyses have been based on a false understanding of how Burroughs’s methods developed over time. Robin Lydenberg, for example, begins by claiming that ‘The Soft ​Machine provides a relatively accessible introduction to Burroughs’s writing experiments during the 1960s’ on the basis of its ‘tentative and restrained use of the cut-up’ (1987:56); but her claim precisely inverts the true situation, because the edition she analyses is the second, which shows the massive revisions Burroughs was forced to make in order to undo the originally unrestrained use of cut-up methods that made the first edition of his first cut-up novel so inaccessible. 
Equally, it is no coincidence that these novels are generally identified as ‘the Nova trilogy’—which emphasizes the apocalyptic urgency of their allegorical political scenario—rather than ‘the cutup trilogy’—which would recognize the primacy of the material methods by which, so visibly and uniquely, they were created.7 But this primacy is more than formal, since the methods determined the political scenario, too. The essential historical question, ‘To what political analysis were cut-up methods an answer?’, has therefore to be turned around and rephrased: ‘What political analysis did the methods themselves produce?’ Most obviously, we can see this in the way the Nova conspiracy appropriates the method to ‘set cut-up terrorists against a totalizing discursive apparatus’ (Latham 1993:48), even as these narrative agents of interplanetary resistance generalize the fantasy scenario of the cut-up writer engaged in his ‘deadly struggle’. But Burroughs’s politics of method was not simply subsumed by form and content, since its point of departure was not only the material acts that resulted in his texts, but also the material acts that they in turn were intended to produce. This prospective function, which has multiple and disparate dimensions, requires that a historical approach to cut-up methods means situating Burroughs’s texts not just in relation to a past or present reality, but also with reference to the future. Burroughs’s cut-up politics came from his scissors in a number of different ways, but in each we see the determining significance of method motivated materially as well as historically by the predictive urgency announced at the outset in the very title of Minutes to Go.

THE OLD PAMPHLET DAYS

Although Burroughs’s trilogy presents extraordinary problems, criticism has found ways to read it: by isolating themes, reconstructing scenarios, analyzing formal structures, and so on. But none of these interpretive strategies work for his short texts in Minutes to Go, and this is because their frame of reference is essentially quite different. To begin with, rather than understanding these texts as failures— one-off exercises which Burroughs quickly abandoned—it is more accurate to say that they demonstrated the provisional and productive character of results proper to an experimental method. This is the key point about Minutes to Go: that the very first examples of the practice were used to publicize it; Burroughs did not try to perfect the method first. Of course, the process itself was future-oriented, in the sense that cutting up pre-existent texts reverses the sequence that is axiomatic to mimesis, so that the sign creates its referent; production replaces reproduction, and meaning becomes contingent, a coded message awaiting the ‘intersection point’ that will decipher it. This is one reason why Burroughs constantly went back to Minutes to Go, recycling its most enigmatic phrases—such as ‘Will Hollywood Never Learn?’—in new contexts to discover new significances.
Constant revision in the light of experience was inherent in the method, and this process explains the fate of Burroughs’s trilogy. The fact that it was realized in six editions over a seven-year period has always been read as a calculated refusal of linear structure and textual closure. But, rather than embodying any theoretical position, Burroughs updated his trilogy into present time—‘That was in 1962’, he comments in one place (TE2 9)—because he was led by his own methods of textual production to apply to novel-length works an experimental logic initially devised for, and in certain respects better suited to, the publication of short pieces in pamphlet or magazine form.
Indeed, a narrow focus on the trilogy has made it easy to overlook the fact that parts of all these novels first appeared in a range of alternative or underground journals, and that this process continued as Burroughs revised his texts. By the time the first edition of The Ticket that Exploded was published in December 1962, Burroughs had already published some 50 magazine contributions, a figure rising to 100 by the time Nova Express appeared in November 1964 and to 200 by the time the final edition of The Soft Machine was published in July 1968. In this light, the three novels may even be seen as aberrations, extraordinary exceptions to the cut-up project rather than its necessary fulfillment.
What I’m suggesting is our need to rewrite the literary history of the cut-up project to counterbalance the effects of that most pragmatic of constraints; namely, the commercial availability of textual materials. Critical attention to the cut-up trilogy inevitably reflects that availability, while doubly reinforcing Burroughs’s reception as a novelist (even though the term ‘cut-up novel’ is virtually an oxymoron). For to approach Burroughs as the author of The Soft Machine, The Ticket that Exploded and Nova Express relegates to the margins his enormous investment of energy not only in multimedia applications, but also the far broader field of textual experiment. The true scale of that field can only be gauged by referring to the 60 pages of periodical contributions listed in Maynard and Miles’s bibliography and the several hundred more unpublished short cutup texts listed in the Descriptive Catalogue of the William S. Burroughs Archive. Only a tiny fraction of the published texts have been made generally accessible—in The Third Mind and The Burroughs File—but, even then, their true significance is inevitably obscured: to read Burroughs’s experimental layout texts collected and reprinted in book form is an entirely different experience to reading them in the context of their original magazine publications.
There is, I would argue, a complex politics to this mode of production and publication that derives directly from Burroughs’s material practice. Since Burroughs’s priority did not lie in the finished text or in texts with traditional ‘finish’, he was able to exploit the particular advantages structured into magazine dissemination. As Barry Miles observed: ‘Burroughs could present to the reading public his cut/up experiences immediately. Naturally, this provoked a highly intimate encounter with his colleagues’ (1976:10; my translation). Miles was thinking specifically of Burroughs’s regular newspaper layout columns in the small-circulation, mimeographed pamphlet, My Own Mag, and in August 1964 Burroughs wrote to its editor, the poet Jeff Nuttall, clarifying the precise political ambition of his contributions; he had, he noted, ‘always yearned nostalgically for the old pamphlet days when writers fought in the street’.8 In fact, Burroughs’s nostalgia could be seen as unrecognized prescience, since the proliferating mass of little magazines was, by the mid1960s, already forming an expanding underground network of alternative communication. Burroughs would develop the radical political potentials of this network explicitly in Electronic Revolution (1971), where he identified the underground press as ‘the only effective counter to a growing power and more sophisticated techniques used by establishment mass media’, concluding that ‘the underground press could perform this function much more effectively by the use of cut/up techniques’ (ER 24).9 Burroughs’s hopes for the underground press were to generalize the incendiary intentions he had had for his first cut-up pamphlets, as indicated in a summer 1960 letter to Dave Hazelwood concerning The Exterminator, the sequel to Minutes to Go: ‘I think you realize how explosive the material is […] Are you willing and able to publish—To put it in the street? Please answer at once. Minutes to go believe me.’
Burroughs’s remarkable commitment to small press publications throughout the cut-up decade meant trading against his work’s commercial value; as he told Ginsberg in 1960, his best bets were ‘no-paying far-out magazines like Yugen and Kulchur’.11 In terms of the experimental opportunities it afforded Burroughs, this commitment constitutes a ‘textual politics’ as defined by Michael Davidson— the ‘seizing of one’s means of literary production’ (1997:179)—and locates Burroughs’s practice in a broader contemporary cultural context. For example, Charles Olson grasped the importance of such magazines as Diane DiPrima and Leroi Jones’s Floating Bear (which published six cut-up texts by Burroughs in 1961–62): the immediacy of communication relative to book publication narrowed significantly the gap between producer and consumer. This narrowing enabled avant-garde and underground small press magazines to operate through localized, specific networks of dissemination, and over time Burroughs learned to exploit the narrowed distances between both the time of composition and reception and between the writer and a specialized audience. 
The nearly two-dozen contributions Burroughs made to My Own Mag between 1964 and 1966 are especially important in this context, because it was here that he introduced his own newspaper, The Moving Times. Specifically focused on temporal experiments using text arranged in columns, The Moving Times was a precursor to his pamphlets, Time and Apo-33 (1965), and a logical conclusion to Minutes to Go, where eleven of Burroughs’s 16 texts had cut up newspaper articles. Editing his own experimental magazine enabled Burroughs not only to address his readers directly, but also to invite their involvement in such experimental projects as writing in ‘present time’ through collecting ‘intersection points’: ‘Try writing tomorrow’s news today. Fill three columns with your future time guesses. Read cross column […] Notice that there are many hints of the so-called future’ (BF 150). 
Burroughs solicited both correspondence and creative collaborations from his readership and it was, as Maynard and Miles noted, through The Moving Times that he began his substantial cut-up collaborations with Claude Pélieu and Carl Weissner (1978:128). The new channels offered by the alternative press therefore confirmed the importance of the mode of publication to Burroughs’s development and promotion of cut-up methods—and, hence, their instrumental value for the political goal of recruiting other practitioners. One three-column text, ‘Who Is the Walks Beside You Written 3rd?’, ends with a general call to take back ownership of the production of reality from those who publish the official text: ‘It is time to do our own publishing’ (BF 76). In this respect, we might revise Timothy S. Murphy’s formulation for the general ‘context of political engagement’ into which Burroughs sent his ‘literary interventions’: ‘Such a context could be called an audience, a community of addressees’ (1997:145). Burroughs’s mass of small press cut-up contributions, specifically those using newspaper formats, materially constituted precisely such a context; the resulting community was not projected on the basis of reception alone, however, but on recruitment to future acts of production—acts that in turn promised to produce the future.

ALLIES WAIT ON KNIVES

Burroughs’s nostalgia for ‘the old pamphlet days’ of street-fighting writers may also be seen as a reference back to the historical avantgarde, specifically the era of Dada. Burroughs’s early identification of cut-up techniques with the prior example set by Tristan Tzara’s performance of ‘Pour faire un poème dadaiste’—the recipe for making a poem by drawing out of a hat words cut from a newspaper—is of course well known, but to this we must add recognition of the importance of the specific context in which Tzara published; that is to say, the manifesto. In 1918, Richard Huelsenbeck attributed the principle of active, provocative campaigning to Tzara, proclaiming: ‘The manifesto as a literary medium answered our need for directness. We had no time to lose; we wanted to incite our opponents to resistance, and, if necessary, to create new opponents for ourselves’ (cited by Richter 1964:103). Primed by knowledge of such historical precedents, in June 1960, as he worked on a pamphlet to follow Minutes to Go, Burroughs was therefore confident he could predict its reception: ‘Expect a spot of bother. Well there has been plenty of that already. You can not win allies without making enemies.’12 The manifesto as a medium encouraged Burroughs to take the military metaphor of the avant-garde quite literally, and Minutes to Go represents a political mobilization of friends—‘FUNCTION WITH ​​BURROUGHS EVERY MAN/ AN AGENT’ (59)—and an identification of enemies—‘CANCER MEN… THESE INDIVIDUALS/ARE MARKED FOE’ (12)—while The Exterminator goes one better: ‘“Let petty kings the name of party know/ Where I come I kill both friend and foe”’ (Burroughs and Gysin 1960:v).13
Burroughs’s call to arms is contextualized by the urgency of Tzara’s manifesto form (‘We had no time to lose’), but the distinctive feature of Minutes to Go—and one of the reasons for its neglect—is the absence in Burroughs’s texts of anything remotely resembling a direct aesthetic or political statement. This is because, while his texts were heterogeneous in form and content—several reworked newspaper articles into prose or stanzas, some fragmented the words of a Rimbaud poem, and so on—all of them gave priority to the material process of cutting up over its products. In doing so, they identified the value of the method for the practitioner, rather than the reader. The inference is that cut-up methods should be understood as artistic only in the specific sense of a liberating life praxis. Certainly, Gysin’s injunction, ‘Make your whole life a poem’ (MTG 43), directly resurrects the Surrealist maxims of Breton and Lautréamont (which Burroughs would repeat, typically attributing them to Tzara): that poetry should be practiced and that it should be made by all. Leaving the polemical task entirely to Gysin, Burroughs allowed the method to become his message. As one cryptic phrase has it: ‘Allies wait on knives’ (MTG 21). 
In this respect, another of his letters to Hazelwood in the summer of 1960 is especially revealing:
I find that people read MINUTES TO GO without ever using the cut up method themselves. But when they once do it themselves they see. Any missionary work you do among your acquaintance in showing people how the cut up system works will pay off in sales. People must be led to take a pair of scissors and cut a page of type.14
Although he uses economic terms for his publisher’s benefit (‘pay off in sales’), this cannot conceal the true nature of Burroughs’s selfinterest here, which is defined by his recognition that, for his texts to work, people ‘must be led’ to practice the methods by which he himself had made them. In fact, there are two sides to this motive. On the one hand, Burroughs knew he needed to promote the method in order to ensure an understanding of his work, which could be guaranteed most effectively by creating an audience of ​producers—an audience, in effect, made in his own image. On the other hand, his early experience of cut-up methods turned emphatically on the seductive pleasure and private insights they yield so enigmatically to the practitioner. A strictly physical dimension was integral to the act—across the entire range of aesthetic, magical, and therapeutic functions Burroughs claimed for it. The key word in his claim for the uncanny, prophetic potency of the method—‘Cut-ups often come through as code messages with special meaning for the cutter’ (3M 32)—is emphatically the last.
excerpt from the book: Retaking the Universe (William S. Burroughs in the Age of Globalization)
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    Georges Battaile - Sacrifices
    Georges Bataille - The Sorcerer's Apprentice
    Georges Bataille - The Sacred Conspiracy
    Georges Bataille - The Pineal eye
    Georges Bataille - The Psychological Structure of Fascism
    Georges Bataille - The Labyrinth
    Georges Bataille - Nietzsche and the Fascists
    Georges battaille - Nietzschean Chronicle
    GILLES DELEUZE - On Spinoza (Part 1)
    GILLES DELEUZE - On Spinoza (Part 2)
    GILLES DELEUZE - On Spinoza (Part 3)
    GILLES DELEUZE - On Spinoza (Part 4)
    GILLES DELEUZE - On Spinoza (Part 5)
    GILLES DELEUZE - On Spinoza (Part 6)
    GILLES DELEUZE - On Spinoza (Part 7)
    GILLES DELEUZE - On Spinoza (Part 8)
    GILLES DELEUZE - On Spinoza (Part 9)
    GILLES DELEUZE - Capitalism, flows, the decoding of flows, capitalism and schizophrenia, psychoanalysis, Spinoza.
    Gilles deleuze -DIONYSUS AND CHRIST
    Gilles Deleuze - Dionysus and Zarathustra
    Gilles Deleuze - Repetition and Difference (Part 1)
    Gilles deleuze - Repetition and Difference (Part 2)
    Gilles Deleuze - D as in Desire
    Gilles Deleuze - A Portrait Of foucault
    Gilles Deleuze - The Philosophy of The Will
    Gilles Deleuze - Characteristics of Ressentiment
    Gilles Deleuze - Is he Good ? Is he Evil
    Gilles Deleuze - The Dicethrow
    Gilles Deleuze - Postscript On The Societies Of Control
    Gilles deleuze - The Types Of Signs
    Gilles Deleuze and Felix Guattari - The Imperialism of Oedipus
    Gilles Deleuze and Felix Guattari ​ - The Experience of Delirium
    Deleuze and Guattari - From Chaos to the Brain
    Deleuze and Guattari - The Plane of Immanence (Part 1)
    Deleuze and Guattari - The Plane Of Immanence (Part 2)
    Deleuze and Guattari - The War Machine is exterior to the State apparatus
    Deleuze and Guattari - Immanence and Desire
    Deleuze and Guattari - The Body Without Organs
    Deleuze and Guattari - Year Zero: Faciality
    Deleuze and Guattari - Desiring-Production
    Deleuze and Guattari - How do you make yourself a 'Body without Organs'?
    Deleuze and Guattari - Memories of a Sorcerer
    Deleuze and Guattari - Memories Of A Haecceity
    Deleuze and Guattari - Memories and Becomings, Points and Blocks
    Deleuze and Guattari - Fear, clarity, power and death
    Deleuze In Conversation With Negri
    Edmund Berger - DELEUZE, GUATTARI AND MARKET ANARCHISM
    Edmund Berger - Grungy “Accelerationism”
    Edmund Berger - Acceleration Now (or how we can stop fearing and learn to love chaos)
    Edmund Berger - Compensation and Escape
    Jasna Koteska - KAFKA, humorist (Part 1)
    Obsolete Capitalism: The strong of the future
    Obsolete Capitalism - THE STRONG OF THE FUTURE. NIETZSCHE’S ACCELERATIONIST FRAGMENT IN DELEUZE AND GUATTARI’S ANTI-OEDIPUS
    Obsolete Capitalism - Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 1)
    Obsolete Capitalism - Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 2)
    Obsolete Capitalism: Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 3)
    Obsolete Capitalism - Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 4)
    Obsolete Capitalism: Acceleration, Revolution and Money in Deleuze and Guattari's Anti-OEdipus (Part 5)
    Obsolete Capitalism - Deleuze and the algorithm of the Revolution
    Obsolete Capitalism - Dromology, Bolidism and Marxist Accelerationism (part 1)
    Obsolete Capitalism - Dromology, Bolidism and Marxist Accelerationism (part 2)
    Obsolete Capitalism - Edmund Berger: Underground Streams (Part 1)
    Obsolete Capitalism - Edmund Berger: Underground Streams (Part 2)
    obsolete capitalism - Emilia Marra: COMMIT MOOSBRUGGER FOR TRIAL
    Obsolete Capitalism - McKenzie Wark - BLACK ACCELERATIONISM
    Occult Xenosystems
    QUENTIN MEILLASSOUX AND FLORIAN HECKER TALK HYPERCHAOS: SPECULATIVE SOLUTION
    Ray Brassier Interviewed by Richard Marshall: Nihil Unbound: Enlightenment and Extinction
    Rick McGrath - Reconstructing High-Rise
    Robert Craig Baum - Non-Normal Living at the Ross School
    Robert Craig Baum - Arrivals (Part 1)
    Robert Craig Baum ​- Delays (Part 2)
    Robert Craig Baum ​​- Delays (Part 3)
    Robert Craig Baum - Departures (Part 4)
    Robert Craig Baum ​​- The Last God (Part 5)
    Sean Kohingarara Sturm - NOO POLITICS
    Sean Kohingarara Sturm - NOO POLITICS 2
    Simon Reynolds - Energy Flash
    Stephen Zepke - “THIS WORLD OF WILD PRODUCTION AND EXPLOSIVE DESIRE” – THE UNCONSCIOUS AND THE FUTURE IN FELIX GUATTARI
    Stephen Craig Hickman - A Rant...
    Steven Craig Hickman - Children of the Machine
    Steven Craig Hickman - Corporatism: The Soft Fascism of America
    Steven Craig Hickman - Is America Desiring Fascism?
    Steven Craig Hickman - Paul Virilio: The Rhythm of Time and Panic
    Steven Craig Hickman - Kurt Gödel, Number Theory, Nick Land and our Programmatic Future
    Steven Craig Hickman - Speculative Posthumanism: R. Scott Bakker, Mark Fisher and David Roden
    Steven Craig Hickman - Techno-Sorcery: Science, Capital, and Abstraction
    Steven Craig Hickman - Deleuze & Guattari: Abstract Machines & Chaos Theory
    Steven Craig Hickman - JFK: The National Security State and the Death of a President
    Steven Craig Hickman - Against Progressive Cultural Dictatorship
    Steven Craig Hickman - The Great Sea Change
    Steven Craig Hickman - The Daemonic Imaginal: Ecstasy and Horror of the Noumenon
    Steven Craig Hickman - William S. Burroughs: Drugs, Language, and Control
    Steven Craig Hickman - William Burroughs: Paranoia as Liberation Thanatology
    Steven Craig Hickman - The Mutant Prophet of Inhuman Accelerationism: Nick Land and his Legacy
    Steven Craig Hickman - Nick Land: On Time – Teleoplexy & Templexity
    Steven Craig Hickman - Philip K. Dick & Nick Land: Escape to the Future
    Steven Craig Hickman - Philip K. Dick: It’s Alive! – It came here from the future
    Steven Craig Hickman - Fantastic Worlds: From the Surreal to the Transreal
    Steven Craig Hickman - David Roden: Aliens Under The Skin
    Steven Craig Hickman - David Roden and the Posthuman Dilemma: Anti-Essentialism and the Question of Humanity
    Steven Craig Hickman - David Roden on Posthuman Life
    Steven Craig Hickman - David Roden’s: Speculative Posthumanism & the Future of Humanity (Part 2)
    Steven Craig Hickman - Ccru : The Hyperstitional Beast Emerges from its Cave
    Steven Craig Hickman - Sacred Violence: The Hyperstitional Order of Capitalism
    Steven Craig Hickman - The Apocalypse Happened Yesterday
    Steven Craig Hickman - The Intelligence of Capital: The Collapse of Politics in Contemporary Society
    Steven Craig Hickman - Nick Land: Time-Travel, Akashic Records, and Templexity
    Steven Craig Hickman - The Holographic Universe: Black Holes, Information, and the Mathematics
    Steven Craig Hickman - The Machinic Unconscious: Enslavement and Automation
    Steven Craig Hickman - The Carnival of Globalisation: Hyperstition, Surveillance, and the Empire of Reason
    Steven Craig Hickman - Gun Crazy Nation: Violence, Crime, and Sociopathy
    Steven Craig Hickman - Shaviro On The Neoliberal Strategy: Transgression and Accelerationist Aesthetics
    Steven Craig Hickman - La Sorcière: Jules Michelet and the Literature of Evil
    Steven Craig Hickman - American Atrocity: The Stylization of Violence
    Steven Craig Hickman - Lemurian Time Sorcery: Ccru and the Reality Studio
    Steven Craig Hickman - The Consumertariat: Infopocalypse and the Pathologies of Information
    Steven Craig Hickman - Hyperstition: The Apocalypse of Intelligence
    Steven Craig Hickman - The Neoliberal Vision: The Great Escape Artist
    Steven Craig Hickman - The Next Stage
    Steven Craig Hickman - Why Am I Writing Country Noir?
    Steven Craig Hickman - Bataille’s Gift: Wealth, Toxicity, and Apocalypse
    Steven Craig Hickman - Deleuze & Guattari: The Eternal Return of Accelerating Capital
    Steven Craig Hickman - Deleuze & Guattari On the Empire of Capital: The Dog that wants to Die
    Steven Craig Hickman - Deleuze & Guattari: The Eternal Return of Accelerating Capital
    Steven Craig Hickman - Deleuze & Guattari: The Subterranean Forces of Social Production
    Steven Craig Hickman - The Betrayal of Leaders: Reading the Interviews with Deleuze and Guattari
    Steven Craig Hickman - J.G. Ballard: Sleeplessness and Chronotopia
    Steven Craig Hickman - J.G. Ballard: The Carnival of Time
    Steven Craig Hickman - J.G. Ballard: The Fragile World
    Steven Craig Hickman - J.G. Ballard: The Calculus of Desire and Hope
    Steven Craig Hickman - Ballard’s World: Reactivation not Reaction
    Steven Craig Hickman - The Necrophilic Vision of J.G. Ballard
    Steven Craig Hickman - Crash Culture: Panic Shock, Semantic Apocalypse, and our Posthuman Future
    Steven Craig Hickman - J.G. Ballard: The Journey to Nowhere
    Steven Craig Hickman - J.G. Ballard: Chrontopia and Post-Consumerist Society
    Steven Craig Hickman - J.G. Ballard: Chronopolis – Time Cities and the Lost Future
    Steven Craig Hickman - Neurototalitarianism: Control in the Age of Stupidity
    Steven Craig Hickman - Thomas Ligotti: The Abyss of Radiance
    Steven Craig Hickman - Thomas Ligotti: The Red Tower
    Steven Craig Hickman - Thomas Ligotti: Dark Phenomenology and Abstract Horror
    Steven Craig Hickman - Thomas Ligotti: The Frolic and the Wyrd (Weird)
    Steven Craig Hickman - Thomas Ligotti, Miami: The Collapse of the Real
    Steven Craig Hickman - Thomas Ligotti: Vastarien’s Dream Quest
    Steven Craig Hickman - The Epoch of Care: Transindividuation and Technical Individuals
    Steven Craig Hickman - Rethinking Conceptual Universes
    Steven Craig Hickman - Bataille’s Revenge
    Steven Craig Hickman - The Excess of Matter: Bataille, Immanence, and Death
    Steven Craig Hickman - Hyperstition: Metafiction and the Landian Cosmos
    Steven Craig Hickman - Babalon Rising: Amy Ireland, Artificial Intelligence, and Occulture
    Steven Craig Hickman - R. Scott Bakker: Reviews of Yuval Noah Harari’s Homo Deus
    Steven Craig Hickman - R. Scott Bakker: Medial Neglect and Black Boxes
    Steven Craig Hickman - Let Death Come Quickly
    Steven Craig Hickman - Hyperstition Notes: On Amy Ireland
    Steven Craig Hickman - Amy Ireland: Gyres, Diagrams, and Anastrophic Modernism
    Steven Craig Hickman - Accelerationism: Time, Technicity, and Superintelligence
    Steven Craig Hickman - Death & Capitalism: The Sublime War Machine
    Steven Craig Hickman - Deleuze & Guattari: Accelerationism – Diagnosis and Cure?
    Steven Craig Hickman - BwO – Deleuze and Guattari: The Impossible Thing We Are Becoming
    Steven Craig Hickman - Deleuze & Guattari: Culture of Death / Culture of Capital
    Steven Craig Hickman - Deleuze & Guattari & Braidotti: On Nomadic vs. Classical Image of Thought
    Steven Craig Hickman - Vita Activa: Deleuze against the Contemplative Life?
    Steven Craig Hickman - Deleuze’s Anti-Platonism
    Steven Craig Hickman - Deleuze: Transcendental Empiricist? – Fidelity and Betrayal
    Steven Craig Hickman - Poetic Thought for the Day : A Poetics of Sense & Concepts
    Steven Craig Hickman - Wild Empiricism: Deleuze and the Hermetic Turn
    Steven Craig Hickman - A Short History of the City and the Cathedral
    Steven Craig Hickman - Future Society: The Cathedral of Managed Society
    Steven Craig Hickman - Nick Land and Teleoplexy – The Schizoanalysis of Acceleration
    Steven Craig Hickman - Felix Guattari: The Schizo, the New Earth, and Subjectivation
    Steven Craig Hickman - The Gnostic Vision in the Sciences
    Steven Craig Hickman - François Laruelle: Future Struggle, Gnosis, and the last-Humaneity
    Steven Craig hickman - Smart Cities and Dark Neoliberalism
    Steven Craig Hickman - The Governance of the World
    Steven Craig Hickman - ON Dark Realism - Part One
    Steven Craig Hickman - ON Dark Realism: Part Two
    Steven Craig Hickman ​- ON Dark Realism: Part Three
    Steven Craig Hickman - In the time of capital
    Steven Craig Hickman - Niklas Luhmann: Mass-Media, Communications, and Paranoia
    Steven Craig Hickman - Deleuze/Guattari: ‘Stop the World!’
    Steven Craig Hickman - The Schizorevolutionary Project : Escaping to the Future of New Earth
    Steven Craig Hickman - Deleuze/Guattari: The Four Schizoanalytical Thesis
    Steven Craig Hickman - The Dark Side of Time
    Steven Craig Hickman - Digital Dionysus: R. Scott Bakker
    Steven Craig Hickman - Hyperstition: Technorevisionism – Influencing, Modifying and Updating Reality
    Steven Craig Hickman - Paul Virilio: The Anti-City
    Steven Craig Hickman - Maurizio Lazzarato: Homage to Felix Guattari
    Steven Craig Hickman - Phantom Monsters: Nationalism, Paranoia, and Political Control
    Steven Craig Hickman - Memory, Technicity, and the Post-Human
    Steven Shaviro - Accelerationism Without Accelerationism
    Steven Craig Hickman - Posthuman Accelerationism
    Steven Craig Hickman - The Age of Speed: Accelerationism, Politics, and the Future Present
    Steven Craig Hickman - Weird Tales: Essays and Other Assays
    Thomas Nail on Deleuze and Badiou - Revolution and the Return of Metaphysics
    Terence Blake - LOVECRAFT NOETIC DREAMER: from horrorism to cosmicism (Part 1)
    Terence Blake - LOVECRAFT NOETIC DREAMER: from horrorism to cosmicism (Part 2)
    Terence Blake - SYSTEM AND CLARITY IN DELEUZE’S OPUS
    Terence Blake - UNCONSCIOUS JUNGIANS
    Terence Blake - BADIOU’S HORSESHOE: substance vs sparks
    Terence Blake - ZIZEK, DELEUZE, JUNG: the analogical self versus the digital ego
    Terence Blake - THERE IS MADNESS IN THIS METHOD
    Terence Blake - IS OLD AGE A CONCEPT?: Notes on Deleuze and Guattari’s “What is Philosophy?” (1)
    Terence Blake - CONCEPTS OUT OF THE SHADOWS: Notes on Deleuze and Guattari’s “What is Philosophy?” (2)
    Terence Blake - TRANSVALUE DELEUZE: an ongoing project
    Terence Blake - DELEUZE: philosopher of difference or philosopher of multiplicity
    Terence Blake - CONVERSATION WITH DELEUZE: pluralist epistemology and life
    Terence Blake - LARUELLE AND DELEUZE: from difference to multiplicity
    Terence Blake - LARUELLE’S “QUANTUM”: nostalgic obscurity and the manipulation of stereotypes
    Terence Blake - LARUELLE AND WAVE ABSOLUTISM: against quantum integrism
    Terence Blake - LARUELLE’S BLINDSPOTS: Deleuze on style, heuristics, and the topography of thought
    Terence Blake - LARUELLE’S DE-PHILOSOPHY: confirmation bias legitimated
    terence blake - DELEUZE’S REPLY (1973) TO LARUELLE’S CRITIQUE (1995)
    Terence Blake - FROM NON-STANDARD TO SUB-STANDARD: Laruelle’s syntax of scientism
    Terence Blake - STIEGLER, “IDEOLOGY”, AND POST-STRUCTURALISM
    Terence Blake - Deleuze, Klossowski, and Hillman on psychic multiplicity
    Terence Blake - DELEUZE, BADIOU, LARUELLE, CIORAN: a plea for polychromatic vision
    Terence Blake - Do we need to escape from metaphysics?
    Terence Blake - DELEUZE’S PLURALIST AUTO-CRITIQUE
    Terence Blake - DELEUZE’S AGON: schizophrenising Lacan
    Terence Blake - GUATTARI “LINES OF FLIGHT” (1): the hypothesis of modes of semiotisation
    Terence Blake - GUATTARI’S LINES OF FLIGHT (2): transversal vs transferential approaches to the reading contract
    Terence Blake - Felix Guattari and Bernard Stiegler: Towards a Post-Darwinian Synthesis
    Terence Blake - EXPLAINING A SENTENCE BY GUATTARI
    Terence Blake - CLEARING DELEUZE: Alexander Galloway and the New Clarity
    Terence Blake - DELEUZE: HOW CAN YOU STAND THOSE SCHIZOS?
    Terence Blake - No Cuts!: Deleuze and Hillman on Alterity
    Terence Blake - NOTES ON DELEUZE’S “LETTER TO A SEVERE CRITIC” (1): against Zizek
    Terence Blake - PRINCIPLES OF NON-PHILOSOPHY: creative tension or self-paralysing conflict
    Terence Blake - NOTES ON DELEUZE’S “LETTER TO A SEVERE CRITIC” (2): against Laruelle
    Terence Blake - NOTES ON DELEUZE’S “LETTER TO A SEVERE CRITIC” (3): against Badiou
    Terence Blake - DELEUZE WITHOUT LACAN: on being wary of the “middle” Deleuze
    Terence Blake - ON THE INCIPIT TO DELEUZE AND GUATTARI’S “WHAT IS PHILOSOPHY?”
    Tithi Bhattacharya / Gareth Dale - COVID CAPITALISM. GENERAL TENDENCIES, POSSIBLE “LEAPS”
    The German Ideology - Karl Marx and Friedrich Engels (excerpts)
    Reza Negarestani - Mene, Mene, Tekel, Upharsin (Reading Applied Ballardianism)
    Reza Negarestani - What Is Philosophy? Part 1: Axioms and Programs
    Reza Negarestani - What Is Philosophy? Part 2: Programs and Realizabilities
    H. P. Lovecraft - The Call of Cthulhu: Chapter 1: The Horror in Clay
    H. P. Lovecraft- The Call of Cthulhu: Chapter 2: The Tale of Inspector Legrasse
    H. P. Lovecraft - The Call of Cthulhu: Chapter 3: The Madness from the Sea
    Henry Bergson - One of the most famous and influential French philosophers
    Henri Bergson - Philosophical Intuition (Part 1)
    Henri Bergson - Philosophical Intuition (Part 2)
    Himanshu Damle - The Eclectics on Hyperstition. Collation Archives.
    Himanshu Damle - Killing Fields
    Himanshu Damle - Topology of Dark Networks
    Himanshu Damle - Games and Virtual Environments: Playing in the Dark. Could These be Havens for Criminal Networks?
    Himanshu Damle - OnionBots: Subverting Privacy Infrastructure for Cyber Attacks
    Himanshu Damle - Deanonymyzing ToR
    Himanshu Damle - A Time Traveler in Gödel Spacetime
    Himanshu Damle - Evolutionary Game Theory
    Himanshu Damle - 10 or 11 Dimensions? Phenomenological Conundrum
    Himanshu Damle - Geometry and Localization: An Unholy Alliance?
    Himanshu Damle - Typicality. Cosmological Constant and Boltzmann Brains.
    Himanshu Damle - Production of the Schizoid, End of Capitalism and Laruelle’s Radical Immanence
    Himanshu Damle - Where Hegel Was, There Deconstruction Shall Be:
    Himanshu Damle - Something Out of Almost Nothing. Drunken Risibility.
    ​Himanshu Damle - Hegelian Marxism of Lukács: Philosophy as Systematization of Ideology and Politics as Manipulation of Ideology.
    Himanshu Damle - Orthodoxy of the Neoclassical Synthesis
    Himanshu Damle - Intuition
    Himanshu Damle - Transcendentally Realist Modality
    Himanshu Damle - Dark Matter as an Ode to Ma Kali.
    Himanshu Damle - Knowledge Within and Without: The Upanishadic Tradition (1)
    Himanshu Damle - |, ||, |||, ||||| . The Non-Metaphysics of Unprediction.
    Himanshu damle - Philosophy of Dimensions: M-Theory.
    Himanshu Damle - Quantum Informational Biochemistry
    Himanshu Damle - Accelerated Capital as an Anathema to the Principles of Communicative Action
    Hyperstitional Carriers
    Hyperstition - Sorcerers and Necromancers: sorcery and the line of escape part II
    Hyperstition - Sorcerers and Necromancers: lines of escape or wings of the ground? part IV
    Nick Land - Cathedralism
    Nick Land - An Interview: ‘THE ONLY THING I WOULD IMPOSE IS FRAGMENTATION’
    Nick Land - Teleoplexy (Notes on Acceleration)
    Nick Land - The unconscious is not an aspirational unity but an operative swarm
    Nick Land - The curse of the sun (Part 1)
    Nick Land - The curse of the sun (Part 2)
    Nick Land - The curse of the sun (Part 3)
    Nick Land - Transgression (Part 1)
    Nick Land - Spirit and Teeth
    Nick Land - Occultures (Part 1)
    Nick Land - Occultures (Part 2)
    Nick Land - A Dirty Joke
    N Y X U S - Traffic
    Paul Virilio - Interview : TERROR IS THE REALIZATION OF THE LAW OF MOVEMENT
    Paul Virilio - Interview: ADMINISTRATING FEAR: TOWARDS CIVIL DISSUASION
    Paul Virilio - Interview : Speed-Space
    Paul Virilio - a topographical Amnesia
    Paul Virilio - Public Image
    Paul Virilio - The vision Machine ( Part 1)
    Paul Virilio - The Vision Machine (Part 2)
    Paul Virilio - The Information Bomb: A Conversation
    Peter Zhang - The four ecologies, postevolution and singularity
    Peter Zhang and Eric Jenkins - Deleuze the Media Ecologist? Extensions of and Advances on McLuhan
    vastabrupt - Time War // Briefing for Neolemurian Agents
    XENOBUDDHISM - NONORIENTED ACCELERATIONISM
    Xenosystems - Meta-Neocameralism
    XENOMACHINES - Fiction as Method: Bergson
    youandwhosearmy? - BERGSONIAN SCIENCE-FICTION: DELEUZE, ESHUN, AND THINKING THE REALITY OF TIME

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