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Reconstructing High-Rise

1/1/2018

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By Rick McGrath
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A night patrol creeps along a dark hallway past a barricade of desks; a flash of white birds leap into the air like a fluttering flag of surrender; a dog lies drowned in the middle of a community pool... welcome to High-Rise, JG Ballard's deeply subversive study of a society in transformation.
J.G. Ballard has often told interviewers that his characters all seek a kind of highly personal psychic salvation, and that they will, if necessary, create their own self-defining mythologies and pursue them to their furthest logical ends, no matter how illogical it seems, or what the cost.

The seeming irrationality of it all is, of course, just part of Ballard's modus operahndi. As he told Greame Revell in 1983, "I would say that a lot of my fiction is, if you like, open-ended. I leave for the reader to decide what the moral and psychological conclusions to be drawn from my fiction should be. For example, in the case of Crash, High-Rise and The Atrocity Exhibition, I offer an extreme hypothesis for the reader to decide whether the hypothesis I advance (this extreme metaphor to deal with an extreme situation) is proven."

In High-Rise, Ballard has created an isolated environment for the close study of how an ultra-modern apartment block can transform its denizens into a new, aggressive society based on the premise that living in a motherly machine will allow your neurons to re-wire into whatever psycho state you've been unconsciously repressing in the "real" world -- that place Ballard believes is the ultimate fiction.

We have a story of transformation here, ladies and gentlemen, and aficionados of the bizarre and disaffected -- those looking for obsessive, outlandish social mayhem -- will not be disappointed: High-Rise has 40 storeys of shock corridor ahead.

The premise is fascinating: just after the last property in a 1,000-suite tower is occupied, the first little signs of social change begin to become public. A party is in progress. A wine bottle crashes and smashes all over a resident's balcony. Soon crazed, drunken, mob-mentality parties are breaking out all over the building, and now we're deeply into the action, led in shocked wonder as Ballard brilliantly describes the metamorphosis of group psychopathological desire into a new kind of childlike urban social model, a twisted adult mirror of Lord Of The Flies, with no resolution to any kind of recognizeable reality principle.

The Low-Down On The High-Rise.

Variously described as a spaceship, or a "Pandora's Box whose thousand lids were one by one opening inward", this giant housing structure is a marvel of technologies which Ballard credits for "freeing" its occupants. How can it do this? As a sort of giant robot "mother", the building has been designed to cater to all the physical needs of its occupants. But what of their psychological needs?

It is basically an isolation tank for 2,000 people, and as in Concrete Island, this removal from "exterior" social reality unfetters repression. Never one to worry much about scientific "proof", Ballard simply informs us, "the building took away the need to repress anti-social behavior." Like a seatbelt perversely gives you the freedom to drive faster.

On the level of characterization the building is, in Ballard's oddly amoral universe, a mindless liberator, an assembly of services, "a model of all that technology had done to make possible the expression of a truly free psychopathology". This is what Ballard means by "extreme metaphor". No longer a simple building, it is in reality a "huge machine designed to serve, not the collective body of tenants, but the individual resident in isolation."

By opening up the necessary neural pathways to the reckless exploration of psychopathic desires, the high-rise allows this enclave of competitive, middle and upper class worker bees to sucumb to the demands of their inner needs, which, in this case, is explored in the physical acting-out of all the dark, driven activites of the lives of three of the high-rise occupants.

It is important to realize, however, that the building itself is the metaphor. High-Rise is a machine coddling a community, yet still catering to each individual's every whim. How might you react if this urban eden suddenly rejected you and your fellow population? The old social rules are quickly replaced, and individuals revert to inner cunning and extreme behaviour.

How do you understand High-Rise as an extreme metaphor? It could be tricky, because Ballard tends to be "open-ended" insofar as specific meaning is concerned. High-Rise represents a wide variety of themes -- social, political, psychological. Is it society, just waiting to regress, given the right circumstances? The state of politics, as the occupants divide themselves along class lines? Is it a Skinner Box on end, as Ballard explores the depths to which obsessions will reach? Some twisted variation of Lunghwa Internment Camp in Shanghai, where Ballard spent three years as a youth and witnessed unthinkable social upheaval while learning how to survive in a suddenly hostile environment? Probably all of the above. It soon becomes apparent what really interests Ballard are the abnormal antics of the high-rise inhabitants. Very quickly in the story the building becomes the landscape generated by the fears and anxieties, aggressions and hates, schemes and capitulations of the dwellers within. Its condition and usefulness is reflected the various mindscapes of the protagonists.

Q: Who Are These People?
A: "The Proletariat Of The Future".

Ballard, who usually likes to spice up his stories with wry sociopolitical commentary, does little to hide his initial disdain for the repressed, blinkered denizens of these expensive vertical "caves". He purposely fills the high-rise with a wide range of successful and unsuccessful professional and media types (perpetrators of The Fiction), those with "a cool, unemotional personality impervious to the psychological pressures of high-rise life, with minimal needs for privacy, who thrived like an advanced species of machine". Prime examples of Ballard's obsession with the "death of affect" in modern society. Ballard smugly lumps them into what he calls the "orthodoxy of the intelligent... a well-to-do and well-educated proletariat of the future boxed up in these expensive apartments with their elegant furniture and intelligent sensibilities, and no possibility of escape" (emphasis mine).

As noted by one of the characters, TV Producer Richard Wilder, "Living in high-rises required a special type of behavior, one that was acquiescent, restrained, even perhaps slightly mad". But there's more. According to the novel's only psychiatrist, Adrian Talbot, "the model here seems to be less the noble savage than our un-innocent post-Freudian selves, outraged by all that over-indulgent toilet-training, dedicated breast-feeding and parental affection -- obviously a more dangerous mix."

Dangerous, and uncaring. And targets for Ballard's sarcastic arrows: "people in high-rises tended not to care about the tenants more than two floors below them" is a typical aside, and he tosses in a new subspecies, called vagrants, just for good measure: "bored apartment-bound housewives and stay-at-home adult daughters who spend a large part of their time riding the elevators and wandering the long corridors... migrating endlessly in search of change or excitement". Most apartment-dwellers are also insomniacs, we learn, and all of them in High-Rise are essentially the same, prisoners of an eventless world of solitary confinement in a social structure nurtured by a live-in machine.
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So Ballard gives us his benchmark: 1,000 apartments filled with overly-coddled, intelligent, wealthy, bored, socially-successful tenants. As long as the building satisfies their needs, they're happy to mind their own business. This happy state lasts mere hours. Then the high-rise begins to frown. Power outtages. Elevator malfunctions. Graffitti. Alcohol. Random violence. Add to this the vertical division of the high-rise into a class system, and the stage is ripe for mayhem: "an apparently homogenous collection of high-income professional people had split into three distinct and hostile camps". From floors one to nine live the "proletariat" of film-technicians and air hostesses. The 10th floor is commercial, and from it to the restaurant and swimming pool on the 35th floor is the domain of the middle classes -- "self-centred yet basically docile members of the professions... puritan and self-disciplined, they had all the cohesion of those eager to settle for second best". Ouch. The top five floors house the upper class, "a discreet oligarchy of minor tycoons and entrepreneurs, television actresses and career academics". Career Academics? Ballardian humour there. Aside from the irony of including academics, this group sets the pace for the building... and kept the middle class in line by offering the "carrot of friendship and approval". Some things never change. Or do they?

The Gang's All Here.

The novel's plot revolves around the activities of three major characters, all tainted with Dickensian names: Richard Wilder, "television producer... a thick-set, pugnacious man who had once been a professional rugby-league player...", who lives with the other proles on the second floor; Dr. Robert Laing, recently-divorced doctor of physiology looking for solitude, who hides in middle class obscurity on the 25th floor; and Anthony Royal, wealthy architect who was part of the complex's design consortium, who holds court in his opulent penthouse.

And although Laing, the observer, is the novel's only surviving male character – no doubt Ballard himself, as he has publically stated that High-Rise was in part driven by his attempt to explain the cruel ways of God to himself in the years following his wife’s sudden and senseless death -- the other two points of the triangle are thematically and structurally necessary, as Wilder and Royal inhabit the extremities of the vertical world of High-Rise. Stuck in their grooves, unable to evolve as the new society evolves, Wilder and Royal dance inexorably to their long-anticipated, desired ends.

As Ballard has often said, the modus operandi for all his characters is to first survive, then to adapt and ultimately to control and dominate their severely-altered landscapes. This desire to "self-create to success" is expressed in the various survival strategies of Laing, Wilder and Royal, and their ultimate doom is foretold in their more various forms of self-expression -- Wilder is political, violent and cunning, but his "real needs might emerge later"; Royal is an artsy-intellectual snob facing the results of his own social "experiment"; Laing is clever, detached, lazy, boring and practical. Let the lessons begin.

Wilder: A Camera For A Gun.

There is a telling moment halfway through High-Rise when Richard Wilder, the id-like former pro rugger player, reflects before his final assault up the war-torn building. He "hoped to be a midwife to a new society forming", that his actions, "had given people a means of escaping into a new life, and a pattern of social organization that would become a paradigm of all future high-rise blocks". These, of course, are the obsessive dreams of the man whose anger and frustration starts the whole seismic social shift when he drowns an afghan hound in the 10th floor swimming pool during a power outage.

Wilder, the TV producer, early on reads the signs of impending change and decides to shoot a documentary himself on the trials and tribulations of life cramped into such a singular structure. More Ballardian irony. A resident of the lowly 2nd floor, Wilder is afflicted by a phobia in which he feels the weight of the building crushing down on him. His desire to "shoot" the building with his camera becomes part of a "calculated attempt to come to terms with the building, to meet the physical challenge and to dominate it". Sounds like this character is right on track.

As the first waves of escalating violence ebbs, Wilder is caught up in his delusion of fate, and decides to make his assault to the top of the building. By doing so, he severs all ties with his withdrawn wife and children, and by so doing reveals his deeper, more sinister pathology: "By leaving Helen he would break away from the whole system of juvenile restraints that he had been trying to shake off since his adolescence". Needless to say, the psychic conversion experienced by Wilder as he breaks away from his "restraints" will escalate as he rises through the building.

In his last rôle, Wilder becomes a sort of Green Beret hunter/stalker, strategy-smart and using a trained dog as a partner. He successfully clears the last hurdle of resistance on the 37th floor, and escapes into the now-deserted upper levels. Just before the final assault, and armed with a pistol (and his ever-present cine camera), Wilder pauses for a rest. When he awakes, he has regressed from purpopse-driven adult to play-acting child, and completes the irony of his liberation by darting with his gun through the empty corridors and apartments, playing a shock trooper in door-to-door fighting. By chance he stumbles into Royal's refurbished apartment. "He wandered round the refurbished rooms, almost expecting to find his childhood toys, a cot and a playpen laid out for his arrival". Spooky. But hey, he's "happy". After accidentaly meeting with, then playfully shooting Royal on the last steps to the roof, Wilder steps over the prostrate body and into the sunlight at the top of the building. Naked, small children are playing in the sculpture garden, and Wilder strips off to join them. He is soon surrounded by a coven of women -- all of whom he knows -- and then recognizes his wife, tending the fire below an empty spit. The women move in. "In their bloodied hands they carried knives with narrow blades. Shy but happy now, Wilder tottered across the roof to meet his new mothers". What a good litttle boy.

Royal: Architect Of The Isolation Machine.

Anthony Royal is the de facto "king" of High-Rise, an object of desire and fear, although Ballard treats him more like some kind of mad scientist, toddling around his laboratory and waiting for his social Skinner Box to reveal its data. Ballard is cagey about Royal, and only drops the most subtle of hints about his true agenda. "He was all too aware of the built-in flaws" of the high rise, and his imperial manners reveal, "he seemed to be checking that an experiment he had set up had now been concluded". Enigmatic as always, Ballard doesn't let us in on the nature of Royal's "experiment", but one might assume it has to do with some fantasy of control and dominance. Or, like Wilder, something more subversive... an act of violence as the precipitant for a new order. A snob, full of prejudice and yet fascinated with the antics of those who live "downstairs", Royal is Ballard's most ethereal character in the novel, a successful, self-made man who "always wanted his own zoo", and who sketched many designs of zoos, one -- ironically -- a high rise whose birds could fly...

Royal's birdman proclivities are emphasized by Ballard, who introduces a flock of predatory seagulls as part of Royal's ongoing symbolism. Gulls, of course, are scavengers and are associated with death as well as the the liberating aspects of flight. A metaphor for the novel? The gulls are on the roof of the high-rise because they've been attracted to all the garbage tenants are throwing out of their windows, but Royal mythologizes them, "they had flown here from some archaic landscape, responding to the same image of the sacred violence to come".

But for all his posturing and anticipations, Royal suffers an ignoble ending. After being shot by Wilder, he somehow manages to descend to the 10th floor, where he is discovered by Laing. Taken into the swimming pool area, which now doubles as a graveyard/dump, Royal slowly shuffles off to die: "he was moving towards the steps at the shallow end of the swimming pool, as if hoping to find a seat for himself on this terminal slope". Experiment completed.

Laing: Cause Without A Rebel.

I've already suggested Laing may be Ballard in disguise, as his little cave in the wall does have Shepperton written all over it, but... he could also be an ironic takeoff on R.D. Laing, the radical Scots psychiatrist. Laing is the least exciting, but perhaps the most mentally deviant of the novel's trio of main protagonists.

While Royal and Wilder come to us bearing the burden of their "class", Laing is Ballard's invisible man -- a tenant who wishes anonymity in the crowd. In fact, he only buys his apartment on the advice of his sister, who points out that the high rise is perfect, as Laing can easily hide in a group of social clones. Laing immediately likes life in the high rise, and once in its embrace he begins to disassociate from his past: "London belonged to a different world, in time as well as space". Safely ensconced within the building, he felt he "had travelled 50 years forward in time", and, as a result, his "life in the high-rise was as self-contained as the building itself".

Like Royal, but unlike Wilder, Laing rarely leaves the building once the social changes begin, although he does leave once to examine the unfinished lake in the centre of the five-high-rise complex. It is not a pleasant journey, as "The absence of any kind of rigid rectilinear structure summed up for Laing all the hazards of the world beyond the high-rise". In fact, as Laing forces himself down the steep gradient of concrete into the center of the oval lake, he felt as if he was descending into a "forbidden valley" -- all of which "helped to expose a more real vision of himself".

Of the three protagonists, Laing is the most self-obsessed with the creation of a new, isolated world which he can control and dominate. Near the end of the novel, when the worst waves of violence have passed, and those who still remain in the building were well on their way to completing their transformations, he slips even further away: "Laing had decided to separate himself and his two women from everyone else... he knew he was far happier now than ever before... he was satisfied by his self-reliance... above all, he was pleased with his good sense in giving rein to those impulses that involved him with Eleanor and his sister, perversities created by the limitless possibilities of the high-rise". Is it surprising to discover that the two women treat him like "two governesses in a rich man's ménage, teasing a wayward and introspective child"? His power is complete.

Funky stuff, but just a taste of the more sinister ending Ballard only hints at: "all this, like the morphine he would give them in increasing doses, was only a beginning, trivial rehearsals for the real excitement to come". And the pathologies concur. Already the building is beginning to "heal" as everything is beginning to return "back to normal" -- a classic overstatement. The transformation is complete; the stage is set for the next step. And Laing, now truly in control of his two "patients", will look forward to a new future with a truly free life, rather than a free lifestyle. Quest completed. Heckuva neighbour.

The Women of High-Rise: Low Concubines And High Priestesses

While the action of High-Rise is dominated by the men, the women play a very real role as indicators of the "post-Freudian" state of the building's politics. By the end of the story, after suffering through as ignored wives or casual sex partners, two of the women -- Laing's sister, Alice Frobisher, and a hard-drinking TV critic, Eleanor Powell, have gravitated to Laing's side and appear to be happy to take on the role of "women" to the solitary doctor in his rectilinear desert. Polygamy and incest -- are these guys mormons? By the end of the story the rest of the women, including Charlotte Melville (mistress of Wilder), Helen Wilder, Anne Royal, and Jane Sheridan, have occupied the top floors and have started refurbishing it for their own uses, which appears to be a group home for a coven of canniballistic babes intent on dealing with the male competition by eating it. Or were they merely large white birds that Wilder imagined were women?
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The Never-Ending Circle: Beginning At The End.

​Ballard tempts fate in High-Rise by setting the story up as a flashback, which means we actually start at the end (so much for suspense), and then Ballard muddies the waters slightly by extending the second ending to a sister building. High-Rise may have one of the best introductory sentences (and paragraph) in all of Ballard’s novels. Like the dread that accompanies Orwell’s opening "clock struck 13" sentence in 1984, Ballard sets the story on edge in the first sentence when he calmly intones: "Later, as he sat on his balcony eating the dog, Dr Robert Laing reflected on the unusual events that had taken place within this huge apartment building during the previous three months." Only Ballard could offer us the image of a doctor eating a dog on a balcony and calmly reflecting on events. Yes, one could casually say, "unusual events", and it is with this curious bit of understatement that Ballard then proceeds to tell the twisted tale of Laing and his neighbours as they embark on a perverse logic of freedom extended very, very far into the surreal. And this opening paragraph closes with Laing, "on this balcony where he now squatted beside a fire of telephone directories, eating the roast hindquarters of the Alsatian before setting off to his lecture at the medical school". Wow. Reminds me of a few of my profs at university.

The Reality Of Fiction: The Paradox Of Freedom.

As the sociology of the inhabitants moves up the uncivilized spinal column to increasingly violent levels, Laing, Wilder and Royal dream and plot, observe and partake in the events as they unfold, while Ballard spices the pot with a veritable encyclopedia of perverse and forbidden activities, including random acts of senseless violence, torture, cannibalism and incest, mostly drug- and hate-fuelled, and described in what by now has become Ballard's patented, meticulous realistic style, with liberal use of irony and black humour to "flatten" out the jaw-dropping antics of the relentless action.

In fact, it's almost as if Ballard had set out to confound the sensibilities of those ultimate voyeurs, his readers, with a purposefully dry and logical account of what any "right-thinking" reader would consider to be outrageously anti-social behavior. Unlike the middle-class of Millennium People, who run amok in self-indulgent destruction, the tenants of High-Rise seem to be caught in a vortex which has no apparent beginning, and which escalates along a relentless geometry of violence until the new order, the new freedom, roughly forms itself from the ashes of the old. The horror of meaningless acts piled high with Ballard's trademark detatched omnipotent narrator. High-Rise can both shock and exhilarate its reader, and its insistence that the “ends justify the means” reinforces Ballard’s geometry of violence: personal salvation is a lonely, harsh, and demanding mistress, whose lonely logic is impeccable and implacable, no matter where it leads.
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​Where it leads me is to the power and paradox of High-Rise. Brilliantly described, seemingly insane, yet strangely compelling and appealing, High-Rise has the unsettling effect of being attractive and repulsive at the same time. If freedom is a paradox insofar as the rules of society mean we all live "free" in a self-regulated prison of civilization, then what is the freedom that the tenants of High-Rise so actively desire? Is it, as Ballard describes, the freedom to act as a self-centered individual in a violent society based on the power of force and strength? Is it the pleasure-seeking pathology of the Id now supplying reality to the Ego? Is it designed to destroy the media fiction of normal society and reveal our inner feelings as the ultimate reality?

​
As a novel, High-Rise is more of a cool description of fact than an exercise in moralisms or social predictions. These people do not devolve from being professionals, with their "cool, unemotional personality", into noble savages. As in all Ballard novels, the action resolves into the fate of one protagonist -- in this case, Laing. Laing survives because his driving psychic force is self-preservation through isolation and passivity. Mentally shattered by his divorce, seeking to withdraw from human contact, Laing's psychic state is what we see in his landscape of experience. Wilder, the extrovert, clashes with the cerebral Royal and they both perish. Our suspension of disbelief is that we accept no one ever tries to leave the place. High-Rise explores and reveals Ballard's ideas about the quick mutability of reality, and the kind of mental state most likely to adapt and succeed in times of extreme and rapid change in an isolated environment.
​

Is High-Rise one of Ballard's greats? It certainly appears to have fulfilled its challenge: it is a highly successful metaphor for an extreme situation. Given an opportunity to re-enact Ballard's vision, would a hi-tech building have this effect on today's professionals? Probably not, but High-Rise is eerie, not realistic; it finally becomes a symbol which exists on its own terms, and adds an interesting extension to the themes of social withdrawal explored in Concrete Island and Crash, which form Ballard's trilogy of urban "techno-disaster" novels. If you haven't read High-Rise for awhile (or at all), read it... for three hours you'll get to vicariously act out pretty well every anti-social impulse anyone has ever had... and do it in the company of professionals.

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    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

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