OnScenes
  • OnScenes
  • News
  • Art
    • Music >
      • Album Review
    • Poetry
    • Film >
      • Filmmakers >
        • Movies
    • Theater >
      • TheaterMakers
  • Philosophy
  • PhiloFiction
  • Science&Technology
  • Economy
  • Media
    • Video
    • Audio
  • About
  • Contact
    • Location

KAFKA, humorist (Part 1)

3/30/2017

0 Comments

 
by Jasna Koteska
Picture
Most persistent readings of the works of Kafka identify Kafka as the author of intimism (Freud's nuclear family) nihilism (everything eventually comes down to the impossible out of the undefined and unfair Law) and pessimism. The study Kafka, humorist suggested that Kafka should be read as a humorist, at least for two reasons: 1) The Kafka distanced himself from the bitter mode that dominated interpretations of his work as pessimistic. Тhe most - entertainin parts of the biography for Kafka of Max Brod are dedicated to describing the humorous, clownish way in which Kafka had read parts of his novel Process to an audience of literary readings in the apartment of Brod in Prague, and the audience responded with "unstoppable laughter." 2) Reading Kafka as a comedian but not as a pessimist, paradoxically, has a long and more credible tradition.
​Since in 1934, on the tenth anniversary of the death of Kafka, Walter Benjamin in his study Kafka offers his work to be read in a humorous way. Deleuze and Guattari, following the advice of Benjamin in their study in 1975 'Kafka' talks about "a very joyous laughter" in Kafka, but note that this tip to read Kafka remains almost unnoticed by his critics. Finally, David Foster Wallace, in his text Laughing with Kafka in 1998 wrote about the complexities of humour in Kafka, claiming his humour has a "heroic normal" quality. The study Kafka, humorist of Koteska, testing the guidelines which provided by Benjamin, Deleuze and Guattari and Wallace and trying to interpret the humor in Kafka through some of his most frequent themes: animalism, miniaturization, asceticism; but and: children, food, knife, machines; finally the portrait of Kafka for some of the most famous figures of his time (among other things, his comments of Charlie Chaplin and Benito Mussolini, who surprise the reader with unusual similarity in their descriptions).

1. Kafka in court: "Kilogramme Kafka"

​Future fulfils the dreams of the past. We see the example of Kafka - all life built courtroom, and the posthumously entered it. A few months ago, in October 2012, a court in Tel Aviv ruled that the literary legacy of Franz Kafka becomes the property of the National Library in Jerusalem. It was the final, cynical ending, of a long and painful journey of the grandiose author of the 20th century, who, all his life devoted to the study of airless space in the courtroom. How did Kafka end up exactly where хе placed most of his opus - in court?
As is known, Kafka published very little in his life. Since before death, he destroyed most of his works, and other manuscripts delivered to the friend Max Brod with a clear instruction: to destroy them after his death. Instead of fulfilling the covenant, Max Brod preserved the manuscripts and between 1925 and 1927, at first he published the novel Process, Castle and America, and in 1935 collected works of Kafka. When he moved to Palestine in 1939, Brod took with him the rest of the papers and there he kept until his death in 1968. After the death of Brod, the manuscripts inherits his secretary and mistress Esther Hoffe, who in 1988 on public auction sells the handwriting Process for two million dollars. Then it is already clear that Kafka is not only a cult author of modern civilisation but also lucrative commodities market. Esther died in 2007, and tens of the thousands of pages of manuscripts of Kafka, who inherited her two daughters, Eva and Ruth, deposited in private safes in banks in Tel Aviv and Zurich and in 2007 they have offered on  public auction and the price is established according to the simple equation: the texts of Kafka will have the same market value, and the cost per manuscript will be determined by the weight of the boxes. This means that the bidder that offers the most money per kilogramme manuscript, will become the new owner of Kafka! The absurd finish of the most brilliant contemporary descriptor of absurd is twofold. Five years ago on the market of goods was offered Kilogramme Kafka for the richest bidder, and at the same time in the battle for possession over Kafka soon include the state of Israel with a request Kafka to be treated as a legacy of the Jewish people. The problem of this solution worked out brilliantly Judith Butler in the text Who Owns Kafka? (2011). Butler, herself Jewish, in the text has questioned the legitimacy of the so-called law of return: to whom actually belongs the cultural heritage of the Jewish diaspora: to the state of Israel or the Diaspora? (Butler, 2011: 3-8) The fact that Kafka all his life stayed away from affiliation, made the right of belonging over posthumous Kafka  even more traore.
The dispute over the ownership of Kafka was conducted in front of the family court in Tel Aviv, in front of the only two institutions (family court), whose disclosure Kafka dedicate all his work. Except in Jerusalem for housing the legacy of Kafka between 2007 and 2012, has fought another institution - the German Literature Archive in Marbach, the same archive who in 1988  bought the manuscript Process of the auction house - Sotheby for three and a half million dollars. As a Czech Jew, Kafka  spoke a German and Czech language, but from his rich correspondence it is clear that in both languages did not feel comfortable, none of them was quite at home. Although  Hannah Arendt praises Kafka as the purest German stylist, and though the Kafka briefly lived in Berlin, Kafka clearly told that he is  not feel like part of Germanism  (at least not in socially, even in a cultural sense). On the other hand, although he was Cech according to territorially birth and he spoke the Czech language, Kafka did not feel either as a member of the Czech culture (Milena Jasenska in letters to Kafka often corrected his Czech language, just as his fiancée Felice Bauer corrected his German language), and nor quite feel that he belongs to the Jewish tradition. Although in 1911, Kafka once a week, went to the Yiddish theater, he read Kabbalah and discussed in his diaries, then readed Jewish magazines and went to the lectures on Zionism, still in his family Kafka rarely heard Yiddish and the language is treated as East and alienated, while the desire to move to Palestine, unlike Max Brod, who was active Zionists, in Kafka is more fantasy from the other  side of the experience than planned activity. And although for Hannah Arendt fact that the language of Kafka is completely cleansed of "stylistic junk" makes the clearest evidence of German, exactly that purity drives Max Brod, Kafka's work to declare for the most typical Jewish document.
Who, then, belongs Kafka? The entire work of Kafka is lament for not hosted in any of the three cultures (Jewish, German, Czech), and Deleuze and Guattari, rightly, of his brilliant study of Kafka, simply titled Kafka (1975) it gave the subtitle to a small literature ( Deleuze and Guattari, 1998: 5-155). Kafka is the author of fundamental alienation, and for the fundamental non-belonging, except eventually to the small (cultures, literature, identities). However, the knower of Kafka is doomed to dispute even with Deleuze and Guattari. Kafka thoroughly does not belong to any small cultures, languages, ideologies, because he just does not want to belong to any subclass of a human; he does not want to belong to any human, and even belongs to himself - his whole project is the idea of destroying biotic, human, even on the most - singular level. Although he was engaged, Kafka has never married. He never owned any personal property and he had not his own apartment. Finally, Kafka did not want to own even his own work, leaving the clear instruction to Max Brod to destroy all his manuscripts after his death.
​The project of Kafka refined attempt to kill the human circulation of commodities, goods, love, hatred, objects, meaning ... In this sense, belonging to "A minor literature", which spokes Deleuze and Guattari, is the existence of the minor literatures and cultures "defeated but proud" because Kafka had not had pathetic attitude to his place in culture ( "I'm overwhelmed, I'm small, but I am proud, I exist"). No. And not just because Kafka did not play on the miserable map of pride, but because in Kafka is the final question of existence. He thoroughly explores the idea of a last who will testify that no longer existence,  the last one witness that testify that existence no longer exists. To exist as the last, with the idea to leave a testimony of disruption in existence, to justify the non-existence - it is probably the essential message of the work of Kafka. If it's so, the logical question is: why, then, Kafka himself did not destroyed his own manuscripts, when he already was sure that he wanted his own works to  disappear with him? Is not it safe, if he really wanted he himself to light his work, making sure that none of him will remain after his death? Whether the transfer of the obligation to Max Brod no longer speak that Kafka least calculating with the possibility Max Brod to reject the application from the dead Kafka and therefore perverse to accomplish precisely his thoroughly desire: "I choose to celebrate me, but even after my death, to glorify me, but only as a commodity - it will be my final victory "? This question placed those who operating with the pragmatic logic that fame or success are factors of one's existence. It Kafka is still too little to understand the complexity of the project called K. For Kafka final gesture of destruction must pass to other (must pass to Max Brod) because only that passage guarantees the continuation of the absurd. The gesture of Kafka for delayed destruction of the manuscripts is the only logical outcome of his work.
Kafka is humorist of the absurd and his last testament to the destruction of meaning must pass to other because if Kafka himself burned his writings, he would close the circle of nonsense, while the work is always in the game to stay possibility absurd to transfer  as a minimal message, as  a minimal game. In that game, Kafka pledges all his work. And in this sense, the world really touched the absurdity of Kafka, when, turning his work into a commodity altercation in the front of the family court, really confirmed his masterful diagnosis: that civilisation will become only more movingly banal, and more pathologically dangerous that this culture, people and works only increasingly be replaced by items. Kafka ensures that beyond the existence, to the world will direct his own question: Do you not see that I had left my latest toy as evidence of not belonging, and you continue to gnaw who belongs that toy, remaining blind message from my gesture? Certainly, in the gesture of Kafka has a certain arrogance, but it is not the arrogance of the winner, it's the least arrogance of the defeated, the arrogance of the wise from the bottom. The gesture of Kafka is less humour of the director of the circus, and more humour of the clowns who have already pulled makeup.
Kafka is first great civilisation author who clearly states that man and works in the modern world have become objects, elements of nothingness, evidence of non-existence. According to the testimony of Janoah, Kafka said: "We are more object than a living being" (Kafka, 2011a: 128). As it progresses his diaries, so less Kafka himself describes the terms of a human being, less in terms of estranged or dead person, even less in terms of the animal (the decisions of the stories The Metamorphosis or The Burrow). Late Kafka has only one description of himself, he becomes a nice corpse to vultures towns, ham from the perfect supermarket. In the diary Kafka read his fantasy of "broad knife to butcher it quickly and with mechanical regularity cut into me by thin pieces (ham) flying" (Begley, 2008: 56), which Zelda Smith called it "a perfect piece Kafka ... Parma style, pezzi di Kafka "(Smith, 2008: 5).
Here is a brilliant prospect of the author, who, decades later, and in our historical time, really finished as kilogramme Kafka sold at auction Kilogramme Kafka for vultures of the city, which markets packed terms offered as food.

2. KAFKA, humorist

When we say that Kafka is humorist of the absurd, the question follows: Is it possible on the occasion of Kafka to talk about any humor? ​How can about the author of horrible terrifying meaninglessness, to attach any laughter?
Anyone who, like me, undertook to teach Kafka in universities' classrooms know that Kafka is almost impossible to teach. Kafka simply does not work in the classroom. And most charismatic lecturer, equipped with appropriate methodological arsenal, rarely manages to overcome the rejection by which students regularly respond to Kafka, the inability to transfer knowledge kilogramme Kafka on the "next generation." Kafka in my classroom most often caused anxiety, nausea and what specific sliding of meaning in our work as interpreters of literary works. Why is that? The work of Kafka's dramatic break with the logic of each micro-community (in the classroom, in the courtroom, the hospital, at the slaughterhouse) ... Students reject Kafka because they feel that Kafka breaks the social logic of the commons upon which classroom relies. Students intuitively feel that dialogue with Kafka is already some dialogue of the enemies, namely dialogue with someone who wants to set up a break in the dialogue. Kafka sometimes can really cause admiration, but it's always admiration mixed with disgust, admiration for someone, though still part of us, simultaneously is someone who erupted from the human circulation, someone who disputes the classroom. More than any other writer that I know, Kafka causes an interruption in the transfer of knowledge, resistance to Oedipal transmission of the human heritage, from older to younger, briefly - resistance to pedagogical tradition.
However, the acceptance of Kafka in the classroom is possible under one condition. From my humble experience, that is  if Kafka in the classroom taught as philosophically meditative humorist. Kafka would not oppose this decision. The most beautiful pages of the biography of Max Brod, Kafka committed to remember when Kafka stopped before readers in Prague's round of Brod, which loudly laughed while he comically read the first chapter of  Process. "They," said Max Brod, "laughed with unbridled laughter" (Deleuze and Guattari, 1998: 74). Before his listeners, Kafka performed as Charlie Chaplin, aware that his work can only be received through humour mode. He has performed as a clown who communicates truth in the pause of the battle between man and the lion, between the battle of acrobats and gravity. Kafka read his unfinished sketches as a fun interlude in which to denounce the whole grandiose representation of the world as a break while the circus administration changes mise-en-scene, to strain ropes next acrobat, it arranges decor of oriental East ... and only the lonely clown, whom audience mostly ignored, trying to turn the attention of irked and hungry viewers for blood.  Just in that little pause and just a clown have permission to communicate the truth about the essence of things. But that  truth  is not true desires almost no one from the audience. Kafka was unaware that there in the theatre comedy exists those frightening dimensions of unshaped horror. Writing should be disclosure, writes Kafka, and thus define the theatre:
"In the theater come enemies, not the audience, strength is spent on secondary matters; from it at the end remains only effort, straining, and it is almost never begets quality. ... Therefore I not go to the theater. It's too sad"(Kafka, 2011a: 74).
The Circus, clownish mode in which Kafka had read his own creation in front of friends, paradoxically, is actually the most difficult tone to communicate the essence of things. Children with horror looking at the clownish person. Upset mother extracted weeping babies from the circus tents while clown performing. Thousands of people witnessed the horror that intimate feels of seeing the face of a clown in the condensed mixture of sadness and joy. Adult viewers mostly ignored irritant interlude of clowns. While in the arena, technicians placed  the ropes for the next epic struggle of the trainer with the lion, for the next drama of the acrobat with the gravity, circus audience invariably endure the clown  only for the award which he knows that will follow later, when they can see magnificent person who overcomes the lion, which tamed the snake, which overcomes gravity ... all subsequent points of the rank of the victory of the man ... in the epic game of the world, namely, man wins just because he learned to play in dishonest way, on unfair terrain and "rigged backdrops." We do not need much wisdom to realise that barehanded man could never beat the free, no-narcotised lion of prairie in an equal fight. While the circus was going great deception of the world, then the only clown has the most difficult task. The only clown with its small, small strokes must testify unto fundamental meaninglessness of the victory (which, if the viewer grasp in all its tragicomic dimension) will disintegrate precisely the meaning of the circus.
The American writer David Foster Wallace, who a few years ago has committed suicide and who was one of the last truly great inheritors of Kafkian's tradition in literature, in the brilliant text Laughing with Kafka (1998), also, pleaded  to read Kafka as a humorist. Wallace said the big stories and good jokes have a common feature, are not information, but ex-formation (Wallace, 1998: 23). That good literature and a good joke are a vitality which escapes from signifying chains of information, which in shock effect of understanding happens suddenly, here and now, knowing that later causes paralysis of action. What I have yet to announce when Kafka telling his joke? The simple logic tells us that the easiest way to destroy the joke is to explain after it recounted. The same logic applies to Kafka: how to go further with the interpretation when the text of Kafka is already demystified by the logic of interpretation? Kafka does not work the traditional interpretation of symbols, decoding the 'semantic keys' in the plot and similar techniques which ​normally use for dismembering of  the  literary works. How to interpret the joke in Kafka? Kafka disliked literary theorists and critics, not tolerated literary machinery that chokes the text.
Moreover, Kafka stands outside the literary schools of stylistic directions. For various authors we can say that "written as" Kafka. Kafka himself might like to write as Robert Walser (the only author who truly admired). But certainly - can not on occasion Kafka to say: "A-ha, this story of Kafka-like Proust, like the Dostoevsky ...." As the joke can not say that it looks like another joke. The best joke is always singular, and if it is part of a series of similar jokes ( "go bear in the woods ..." or "little Mujo asks the teacher ..." or "Chuck Norris can ..."), then it is over strings of singular jokes they are not "talk" with other such jokes, because the real humor is a matter of first time, the creaking of the material, the resistance of the fabric, novelty that causing disruption of the public order, causing an earthquake in signifying chains, because it is unexpectedness and because it is like nothing before and after them. Likewise the stories of Kafka are singular creations. In them humor is dry; humour not based on a linguistic play or sexual allusion, nor on stylised effort. The characters in Kafka's are not ironic comments on the characters from the previous literature. Kafka's characters are absurd and frightening and sad and singular - his characters exist only in the literary world and come out of nowhere. Therefore, the humor of Kafka is furthest from the humor of sitcoms, for example, just as it is not a humor of blessed riddles and or coarse insinuations, nor is the so-called humor of the situation ( "the husband moved the bed and under saw him, the naked lover") - it is too barbaric for Kafka, but that does not mean that Kafka harbored a subtle humor. Rather, quite the opposite - the humour of Kafka is dry and clean and above all anti (subtle) humour.
to be continued ...
Translated from: http://www.jasnakoteska.blogspot.com/ by Dejan Stojkovski
0 Comments



Leave a Reply.

    ACCELERATE MANIFESTO
    #Accelerate# (Introduction - Part 1)
    #Accelerate# (Introduction - Part 2)
    #Accelerate# (Introduction - Part 3)
    Accelerationism Without Accelerationism
    Achim Szepanski - BAUDRILLARD: WHEN HUMAN RIGHTS AND DEMOCRACY BEGAN TO CIRCULATE LIKE OIL AND CAPITAL
    Achim Szepanski - CRITICISM ON LEFT POPULISM
    Achim Szepanski- MBEMBE: AND NARCOTHERAPY
    Adrian J Ivakhiv - Deleuze, Whitehead, Bergson
    Alain Badiou - Capitalism Today
    Alain Badiou - Latent Riot
    Alain Badiou - Immediate Riot
    Alain badiou - historical riot
    ALAIN BADIOU - Riots and the West
    Alexander Galloway - BROMETHEANISM
    Alexander Galloway - DOES DIFFERENCE HAVE A TYPE?
    ALEXANDER R. GALLOWAY - The Black Universe
    Alexander Galloway - THE BLACK BOX OF THE WORLD
    ALEXANDER R. GALLOWAY - The Computer as a Mode of Mediation
    Albert Camus - The rebel
    Alexander Galloway - THE PRE-SOCRATIC BROTHERHOOD
    Amy Ireland - The Revolving Door and The Straight Labyrinth: An Initiation in Occult Time (Part 0)
    Amy Ireland - The Revolving Door and the Straight Labyrinth: An Initiation in Occult Time (Part 1)
    Amy Ireland - Black Circuit: Code for the Numbers to Come
    Amy Ireland - The Poememenon: Form as Occult Technology
    Andrew Culp - ENDING THE WORLD AS WE KNOW IT: A. GALLOWAY INTERVIEW WITH ANDREW CULP
    ANDREW CULP - Updating Deleuze for the Digital Age
    ANDREW CULP INTERVIEWED BY THOMAS DEKEYSER
    Armen Avanessian - ACCELERATING ACADEMIA: ON HYPERSTITON IN THEORY
    Armen Avanessian and Suhail Malik - Time Arrives From the Future
    Armen Avanessian and Suhail Malik - Operationalizing the Speculative Time Complex
    Armen Avanessian and Suhail Malik - Left and Right Contemporaneity
    Armen Avanessian and Suhail Malik - An Aesthectics Of Everything: Contemporary Art Contra Futurity
    Armen Avanessian and Suhail Malik - Grammar Of The Speculative Present
    Arran James - ACCELERATIONISM, DESIRE AND MADNESS
    Arran James - NO BOREDOM
    Arran James - FORECLOSURE/WITHDRAWAL?
    Austin Osman Spare - A British outsider artist and the grandfather of Chaos Magick
    THE BLACK BLOC WHICH WAS NOT/ COMMENTS ON THE HAMBURG G20
    Benjamin Noys - The Subversive Image (Part 1)
    Benjamin Noys - The Subversive Image (Part 2)
    Bert Olivier - The humanities and the advent of the ‘posthuman’
    Ccru: Writings 1997–2003 / Time Spiral Press
    Carlos Castaneda - There's nothing to understand
    Claudio Kulesko - UltraLeopardi
    David R. Cole - Black Sun: The singularity at the heart of the Anthropocene
    David Roden - Ballard’s Collision of Text and Thing
    David Roden - Dark Posthumanism: 'The weird template'
    David Roden - Dark Posthumanism I: summer's ice
    David Roden - Disconnection, Unbinding and Practice: Posthumanism as (maybe not) Non-Philosophy
    David Roden - Humanism, Transhumanism and Posthumanism
    David Roden - exo scars
    David Roden - Insurgent Time and Techno-Erotics
    David Roden - Manifesto of Speculative Posthumanism
    David Roden - Necroconceptuality in Gary Shipley’s Warewolff
    David Roden - Philosophical Catastrophism: Posthumanism as Speculative Aesthetics
    David Roden - Posthuman Hyperplasticity: Smearing Omohundro's basic AI drives
    Derrida and Laruelle in Conversation
    Derrida on Gilles Deleuze - I’ll have to wander all alone
    Dominic Fox - STRUCTURE AND SYSTEM IN BADIOU AND LARUELLE
    Ian Buchanan - Assemblage Theory, or, the Future of an Illusion (part 1)
    Ian Buchanan - Assemblage Theory, or, the Future of an Illusion (part 2)
    Francesca Ferrando - HUMANS HAVE ALWAYS BEEN POSTHUMAN: A SPIRITUAL GENEALOGY OF POSTHUMANISM
    Franco "Bifo" Berardi - The Precarious Soul (Part 1)
    Franco "Bifo" Berardi - The Precarious Soul (Part 2)
    François Laruelle - DECONSTRUCTION AND NON-PHILOSOPHY
    François Laruelle - ON THE BLACK UNIVERSE: 'In the Human Foundations of Color'
    François Laruelle - THE TRANSCENDENTAL COMPUTER: A NON-PHILOSOPHICAL UTOPIA
    François Laruelle- (Non-Philosophical) Chora
    François Laruelle - Desire (non-desiring (of) self)
    François Laruelle - The Failure of the Explanations of Failure: Desertion and Resentment
    François Laruelle - Between Philosophy and Non-Philosophy
    Felix Guattari - In Flux
    Felix Guattari : The Machinic Unconcious (Introduction: Logos or Abstract Machines? (part 1)
    Felix Guattari: THE MACHINIC UNCONSCIOUS( Introduction: Logos or Abstract Machines? (part 2)
    Felix Guattari - Assemblages of Enunciation, Pragmatic Fields and Transformations (part 1)
    Felix Guattari - Desire Is Power, Power is Desire
    Felix Guattari - Everybody wants to be a fascist (part1)
    Felix Guattari - Everybody wants to be a fascist (part2)
    Felix Guattari - Everybody wants to be a fascist (part3)
    Felix Guattari - Everybody wants to be a fascist (part4)
    Felix Guattari - Everybody wants to be a fascist (Discussion)
    Felix Guattari - Schizo chaosmosis (Part 1)
    Felix Guattari - Schizo chaosmosis (Part 2)
    Felix Guattari - 'So What'
    Grey Hat Accelerationism – An emergent hyperstition? Part 1.
    What is Matrix
    McKenzie Wark - Animal Spirits
    McKenzie Wark - A hacker Manifesto (Class)
    McKenzie Wark - A HACKER MANIFESTO (Education)
    McKenzie Wark - A HACKER MANIFESTO (Hacking)
    ​McKenzie Wark- A HACKER MANIFESTO (INFORMATION)
    McKenzie Wark - A HACKER MANIFESTO (Production)
    McKenzie Wark - A Hacker Manifesto (Representation)
    McKenzie Wark - Black Accelerationism
    McKenzie Wark - Chthulucene, Capitalocene, Anthropocene
    McKenzie Wark - Cognitive Capitalism
    McKenzie Wark - Franco ‘Bifo’ Berardi
    McKenzie Wark - From OOO to P(OO)
    McKENZIE WARK - Erik Olin Wright and Class Today
    McKenzie Wark - Molecular Red in Nine Minutes
    McKenzie Wark - Lazzarato and Pasolini
    McKenzie Wark - Spinoza on Speed
    McKenzie Wark - On Wendy Brown
    MCKENZIE wark - Otaku Philosophy (On Hiroki Azuma)
    McKenzie Wark - The Spectacle of Disintegration
    McKenzie Wark - The Capitalocene (On Jason Moore)
    Mark Fisher - Approaching the Eerie
    Mark Fisher - WRITING MACHINES
    Mark Fisher - D/G/Castaneda by Mark Fisher
    MARK FISHER - The Weird And The Eerie (INTRODUCTION)
    Mark Fisher - LEFT HYPERSTITION 1: THE FICTIONS OF CAPITAL
    Mark Fisher - LEFT HYPERSTITION 2: BE UNREALISTIC, CHANGE WHAT'S POSSIBLE
    Mark Fisher - Reality itself is becoming paranoiac
    Max.Ernst - RE (M) O THE R
    Max.Ernst - REMOTHERING 2 / BIG MOTHER (RENAISSANCE)
    Michael James - THE OPPORTUNITY OF NIHILISM
    Michael James - THE POEMEMENON: FORM AS OCCULT TECHNOLOGY | AMY IRELAND
    Speculating Freedom: Addiction, Control and Rescriptive Subjectivity in the Work of William S. Burroughs
    Yvette Granata - THE REPETITION OF GENERIC GNOSTIC MATRICES
    Yvette Granata - SUPERFICIE D E S CONTINENTS
    Wang and Raj - Deep learning
    Interview With William S. Burroughs
    William S. Burroughs, Laughter and the Avant-Garde
    William S. Burroughs - Last Words
    William S. Burroughs- Cutting up Politics (Part 1)
    William S. Burroughs - Cutting up Politics (Part 2)
    Burroughs's Writing Machines
    William S. Burroughs - Fold-ins
    New World Ordure: Burroughs, Globalization and The grotesque
    Nothing Hear Now but the Recordings : Burroughs’s ‘Double Resonance’
    Ron Roberts - The High Priest and the Great Beast at 'The Place of Dead Roads'
    Slavoj Žižek - 'Is there a post-human god?'
    Slavoj Žižek - Welcome To The Desert Of 'Post-Ideology'
    Jacques Ranciere - Disagreement (POLITICS AND PHILOSOPHY)
    Jacques Rancière - POLITICS AND AESTHETICS
    Jacques Ranciere - An Intellectual Adventure (Part 1)
    Jacques Rancière - An Intellectual Adventure (Part 2)
    Jacques Rancière - Of Brains and Leaves,
    Jacques Rancière - A Will Served by an Intelligence
    J.G. Ballard - Towards The Summit
    J.G. Ballard - Fictions Of Every Kind
    J.G. Ballard - Rushing To Paradise
    J.G. Ballard - Why I Want to Fuck Ronald Reagan
    J.G.Ballard - The Assassination of John Fitzgerald Kennedy Considered as a Downhill Motor Race
    J.G.Ballard - Up!
    J.G.Ballard - into the Drop Zone (High Rise) - part 9
    J.G.Ballard - The Vertical City
    J.G. Ballard - The Evening's Entertainment
    J.G.Ballard - Danger in the Streets of the Sky
    J.G.Ballard - CRASH (Chapter 1)
    J.G. Ballard - Crash (Chapter2)
    J.G.Ballard - Crash ( Chapter 6)
    J.G.Ballard - Crash (Chapter 15)
    J.G.Ballard - CRASH (Chapter 23)
    J. G. Ballard - Crash (Chapter 2 4.)
    Jean Baudrillard - For Whom Does the Knell of Politics Toll?
    Jean Baudrillard - Ecstasy Of The Social
    Jean Baudrillard - Virtuality and Events
    Jean Baudrillard - The Easiest Solutions
    Jean Baudrillard - The Mental Diaspora of the Networks
    Jean Baudrillard - The Intelligence of Evil
    Jason Moore - METABOLISMS, MARXISMS, & OTHER MINDFIELDS
    Joshua Carswell - EVALUATING DELEUZE’S “THE IMAGE OF THOUGHT” (1968) AS A PRECURSOR OF HYPERSTITION // PART 1
    Joshua Carswell - Evaluating Deleuze’s “The Image of Thought” (1968) as a Precursor of Hyperstition // Part 2
    Jose Rosales - ON THE END OF HISTORY & THE DEATH OF DESIRE (NOTES ON TIME AND NEGATIVITY IN BATAILLE’S ‘LETTRE Á X.’)
    Jose Rosales - BERGSONIAN SCIENCE-FICTION: KODWO ESHUN, GILLES DELEUZE, & THINKING THE REALITY OF TIME
    Jose Rosales - WHAT IS IT TO LIVE AND THINK LIKE GILLES CHÂTELET?
    Joseph Nechvatal - On the chaos magic art of Austin Osman Spare
    Lacan - Jouissance
    Horváth Márk and Lovász Ádám - The Emergence of Abstraction: Digital Anti-Aesthetics
    Marshall McLuhan - Les Liaisons Dangereuses
    Marshall McLuhan - MONEY (The Poor Man's Credit Card)
    Michel Foucault - Governmentality (Part 2)
    Michel Foucault - Governmentality (Part 1)
    Michel Foucault - Passion and Delirium (Part 1)
    Michel Foucault - PASSION AND DELIRIUM (Part2)
    Michel Foucault - The Subject and Power
    Michel Foucault and Gilles Deleuze - Intellectuals and power
    Guy Debord - Separation Perfected
    Guy Debord - Towards A Situationist International
    Guy Debord - Society Of The Spectale
    Guy Debord -REVOLUTION AND COUNTERREVOLUTION IN MODERN CULTURE
    Georges Bataille - Eye
    Georges Bataille - Popular Front in the Street
    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

    Archives

    April 2020
    March 2020
    December 2019
    November 2019
    October 2019
    April 2019
    February 2019
    January 2019
    December 2018
    November 2018
    October 2018
    September 2018
    August 2018
    July 2018
    June 2018
    May 2018
    April 2018
    January 2018
    December 2017
    November 2017
    October 2017
    September 2017
    August 2017
    July 2017
    June 2017
    May 2017
    April 2017
    March 2017

    RSS Feed

Powered by Create your own unique website with customizable templates.
  • OnScenes
  • News
  • Art
    • Music >
      • Album Review
    • Poetry
    • Film >
      • Filmmakers >
        • Movies
    • Theater >
      • TheaterMakers
  • Philosophy
  • PhiloFiction
  • Science&Technology
  • Economy
  • Media
    • Video
    • Audio
  • About
  • Contact
    • Location