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A new and radical reexamination of today's neoliberalist "new economy” through the political lens of the debtor/creditor relation."The debtor-creditor relation, which is at the heart of this book, sharpens mechanisms of exploitation and domination indiscriminately, since, in it, there is no distinction between workers and the unemployed, consumers and producers, working and non-working populations, between retirees and welfare recipients. They are all 'debtors,' guilty and responsible in the eyes of capital, which has become the Great, the Universal, Creditor."—from The Making of the Indebted ManDebt—both public debt and private debt—has become a major concern of economic and political leaders. In The Making of the Indebted Man, Maurizio Lazzarato shows that, far from being a threat to the capitalist economy, debt lies at the very core of the neoliberal project. Through a reading of Karl Marx's lesser-known youthful writings on John Mill, and a rereading of writings by Friedrich Nietzsche, Gilles Deleuze, Félix Guattari, and Michel Foucault, Lazzarato demonstrates that debt is above all a political construction, and that the creditor/debtor relation is the fundamental social relation of Western societies.Debt cannot be reduced to a simple economic mechanism, for it is also a technique of "public safety” through which individual and collective subjectivities are governed and controlled. Its aim is to minimize the uncertainty of the time and behavior of the governed. We are forever sinking further into debt to the State, to private insurance, and, on a more general level, to corporations. To insure that we honor our debts, we are at once encouraged and compelled to become the "entrepreneurs” of our lives, of our "human capital.” In this way, our entire material, psychological, and affective horizon is upended and reconfigured.How do we extricate ourselves from this impossible situation? How do we escape the neoliberal condition of the indebted man? Lazzarato argues that we will have to recognize that there is no simple technical, economic, or financial solution. We must instead radically challenge the fundamental social relation structuring capitalism: the system of debt.

A fascinating anthology of texts and interviews written over 20 years by renowned French philosopher Gilles Deleuze."One day, perhaps, this century will be Deleuzian," Michel Foucault once wrote. This book anthologizes 40 texts and interviews written over 20 years by renowned French philosopher Gilles Deleuze, who died in 1995. The early texts, from 1953-1966 (on Rousseau, Kafka, Jarry, etc.), belong to literary criticism and announce Deleuze's last book, Critique and Clinic (1993). But philosophy clearly predominates in the rest of the book, with sharp appraisals of the thinkers he always felt indebted to: Spinoza, Bergson. More surprising is his acknowledgement of Jean-Paul Sartre as his master. "The new themes, a certain new style, a new aggressive and polemical way of raising questions," he wrote, "come from Sartre." But the figure of Nietzsche remains by far the most seminal, and the presence throughout of his friends and close collaborators, Felix Guattari and Michel Foucault. The book stops shortly after the publication of Anti-Oedipus, and presents a kind of genealogy of Deleuze's thought as well as his attempt to leave philosophy and connect it to the outside—but, he cautions, as a philosopher.

A scathing critique of the Left from an indigenous anti-colonial perspective.

Essays on the contemporary continuum of incarceration: the biopolitics of juvenile delinquency, predatory policing, the political economy of fees and fines, and algorithmic policing.What we see happening in Ferguson and other cities around the country is not the creation of livable spaces, but the creation of living hells. When people are trapped in a cycle of debt it also can affect their subjectivity and how they temporally inhabit the world by making it difficult for them to imagine and plan for the future. What psychic toll does this have on residents? How does it feel to be routinely dehumanized and exploited by the police?—from Carceral CapitalismIn this collection of essays in Semiotext(e)'s Intervention series, Jackie Wang examines the contemporary incarceration techniques that have emerged since the 1990s. The essays illustrate various aspects of the carceral continuum, including the biopolitics of juvenile delinquency, predatory policing, the political economy of fees and fines, cybernetic governance, and algorithmic policing. Included in this volume is Wang's influential critique of liberal anti-racist politics, "Against Innocence,” as well as essays on RoboCop, techno-policing, and the aesthetic problem of making invisible forms of power legible.Wang shows that the new racial capitalism begins with parasitic governance and predatory lending that extends credit only to dispossess later. Predatory lending has a decidedly spatial character and exists in many forms, including subprime mortgage loans, student loans for sham for-profit colleges, car loans, rent-to-own scams, payday loans, and bail bond loans. Parasitic governance, Wang argues, operates through five primary techniques: financial states of exception, automation, extraction and looting, confinement, and gratuitous violence. While these techniques of governance often involve physical confinement and the state-sanctioned execution of black Americans, new carceral modes have blurred the distinction between the inside and outside of prison. As technologies of control are perfected, carcerality tends to bleed into society.

A manifesto against the concepts of growth and debt, and a call for a reinvestment in the social body.The Uprising is an Autonomist manifesto for today's precarious times, and a rallying cry in the face of the catastrophic and irreversible crisis that neoliberalism and the financial sphere have established over the globe. In his newest book, Franco "Bifo” Berardi argues that the notion of economic recovery is complete mythology. The coming years will inevitably see new surges of protest and violence, but the old models of resistance no longer apply. Society can either stick with the prescriptions and "rescues” that the economic and financial sectors have demanded at the expense of social happiness, culture, and the public good; or it can formulate an alternative. For Berardi, this alternative lies in understanding the current crisis as something more fundamental than an economic crisis: it is a crisis of the social imagination, and demands a new language by which to address it.This is a manifesto against the idea of growth, and against the concept of debt, the financial sector's two primary linguistic means of manipulating society. It is a call for exhaustion, and for resistance to the cult of energy on which today's economic free-floating market depends. To this end, Berardi introduces an unexpected linguistic political weapon—poetry: poetry as the insolvency of language, as the sensuous birth of meaning and desire, as that which cannot be reduced to information and exchanged like currency. If the protests now stirring about the world are to take shape and direction, then the revolution will be neither peaceful nor violent—it will be linguistic, or will not be at all.

An urgent critique of the biopolitical subject and omnipresent Empire.Historical conflict no longer opposes two massive molar heaps, two classes—the exploited and the exploiters, the dominant and dominated, managers and workers—between which, in each individual case, it would be possible to differentiate. The front line no longer cuts through the middle of society; it now runs through each one of us... "—from This Is Not a ProgramTraditional lines of revolutionary struggle no longer hold. Rather, it is ubiquitous cybernetics, surveillance, and terror that create the illusion of difference within hegemony. Configurations of dissent and the rhetoric of revolution are merely the other face of capital, conforming identities to empty predicates, ensuring that even "thieves,” "saboteurs,” and "terrorists” no longer exceed the totalizing space of Empire. This Is Not a Program offers two texts, both originally published in French by Tiqqun with Introduction to Civil War in 2001. In This Is Not a Program, Tiqqun outlines a new path for resistance and struggle in the age of Empire, one that eschews the worn-out example of France's May '68 in favor of what they consider to be the still fruitful and contemporary insurrectionary movements in Italy of the 1970s. "As a Science of Apparatuses” examines the way Empire has enforced on the subject a veritable metaphysics of isolation and pacification, "apparatuses” that include chairs, desks, computers; surveillance (security guards, cameras); disease (depression); crutch (cell phone, lover, sedative); and authority. Tiqqun's critique of the biopolitical subject and omnipresent Empire is all the more urgent as we become inured to the permanent state of exception that is the War on Terror and to other, no less intimate forms of pacification. But all is not lost. In its unrelenting production of the Same, Empire itself creates the conditions necessary for the insurrection to come.

An autobiographical coming-of-age novel by the the "only gay man” in Morocco.An autobiographical novel by turn naïve and cunning, funny and moving, this most recent work by Moroccan expatriate Abdellah Taïa is a major addition to the new French literature emerging from the North African Arabic diaspora. Salvation Army is a coming-of-age novel that tells the story of Taïa's life with complete disclosure—from a childhood bound by family order and latent (homo)sexual tensions in the poor city of Salé, through an adolescence in Tangier charged by the young writer's attraction to his eldest brother, to a disappointing arrival in the Western world to study in Geneva in adulthood. In so doing, Salvation Army manages to burn through the author's first-person singularity to embody the complex mélange of fear and desire projected by Arabs on Western culture. Recently hailed by his native country's press as "the first Moroccan to have the courage to publicly assert his difference,” Taïa, through his calmly transgressive work, has "outed” himself as "the only gay man” in a country whose theocratic law still declares homosexuality a crime. The persistence of prejudices on all sides of the Mediterranean and Atlantic makes the translation of Taïa's work both a literary and political event. The arrival of Salvation Army (published in French in 2006) in English will be welcomed by an American audience already familiar with a growing cadre of talented Arab writers working in French (including Muhammad Dib, Assia Djebar, Tahar Ben Jelloun, Abdelkebir Khatibi, and Katib Yasin).

A Situationist International roman à clef, written by Guy Debord's first wife, a founder of the movement and one of its influential thinkers.

An early work that lays the foundation for establishing a "polemical” dimension to psychoanalysis.We certainly have the unconscious that we deserve, an unconscious for specialists, ready-made for an institutionalized discourse. I would rather see it as something that wraps itself around us in everyday objects, something that is involved with day-to-day problems, with the world outside. It would be the possible itself, open to the socius, to the cosmos...—from The Machinic Unconscious: Essays in SchizoanalysisIn his seminal solo-authored work The Machinic Unconscious (originally published in French in 1979), Félix Guattari lays the groundwork for a general pragmatics capable of resisting the semiotic enslavement of subjectivity. Concluding that psychoanalytic theory had become part and parcel of a repressive, capitalist social order, Guattari here outlines a schizoanalytic theory to undo its capitalist structure and set the discipline back on its feet. Combining theoretical research from fields as diverse as cybernetics, semiotics, ethnology, and ethology, Guattari reintroduces into psychoanalysis a "polemical” dimension, at once transhuman, transsexual, and transcosmic, that brings out the social and political—the "machinic”—potential of the unconscious. To illustrate his theory, Guattari turns to literature and analyzes the various modes of subjectivization and semiotization at work in Proust's In Search of Lost Time, examining the novel as if he were undertaking a scientific exploration in the style of Freud or Newton. Casting Proust's figures as abstract ("hyper-deterritorialized”) mental objects, Guattari maps the separation between literature and science, elaborating along the way such major Deleuze-Guattarian concepts as "faciality” and "refrain,” which would be unpacked in their subsequent A Thousand Plateaus: Capitalism and Schizophrenia. Never before available in English, The Machinic Unconscious has for too long been the missing chapter from Deleuze and Guattari's Anti-Oedipus project: the most important political extension of May 1968 and one of the most important philosophical contributions of the twentieth century.

Cultural Writing. In its third publication since 1985, this book contains essays and flyers on anarchy as well as a new preface by the author. Pieces from this collection have appeared in various publications around the world, including Ganymede (London) and Pan (Amsterdam). This work is a "literary masterpiece" - Freedom (London) and "Dear to our hearts" - Exquisite Corpse; reading it is "Like sending away for Kix boxtops and getting back real bazookas" - NY Native.

Aesthetic Protest Cultures: After the Avant-Garde offers a new way of analysing and theorizing the question of the avantgarde today. It is customary within art history and cultural history to argue that the avant-garde disappeared as an (anti)artistic gesture during the 1960s. The dissolution of the Situationist International in 1972 is often presented as the endpoint in the history of the avant-garde. The implosion of the ''68 revolt - quickly in France, after a long process of revolt and counter-revolt in countries like Italy - effectively ended the attempt to use art as a vehicle for a transformation of capitalist society. This book contributes to the discussion of the avant-garde today by discussing whether it is still relevant for a contemporary anti-systemic critique and analysing different instances where the avantgarde has creeped into protests and social experiments outside art and art institutions. Includes essays from Mikkel Bolt Rasmussen, Esther Leslie, Abigail Susik, Natasha Gasparian, Marina Vishmidt, Yves Citton, and Gene Ray.

With all appropriate modesties and heresies, Bruno Gulli and Richard Gilman-Opalsky think together in the ways of other kindred spirits like Gilles Deleuze and F(c)lix Guattari, bell hooks and Cornel West, Michael Hardt and Antonio Negri, and Stefano Harney and Fred Moten. Gulli and Gilman- Opalsky undertake a philosophical and political inquiry into capitalist forms of life and communist ontologies. From a deep, dialectical study of each other s work, they aim at a new synthesis of theory about possible and desirable beings-in-the-world. Rejecting capitalist conceptions of labor, politics, sovereignty, economy, (neo)liberalism, community, the individual, art, revolution, social change, and even the human person, Gulli and Gilman-Opalsky propose new ways of thinking and being antagonistic to the existing world (such as it is). They consider the prospects for new forms of life realized by way of the emancipatory dreams and struggles of everyday people.

Creative workers find themselves celebrated as engines of economic growth, economic recovery and urban revitalization even as the conditions for our continued survival becomes more precarious. How can you make a living today in such a situation? That is, how to hold together the demands of paying the rent and bills while managing all the tasks necessary to support one's practice? How to manage the tensions between creating spaces for creativity and imagination while working through the constraints posed by economic conditions? In a more traditional workplace it is generally easy to distinguish between those who planned and managed the labor process and those who were involved in its executions: between the managers and the managed. For creative workers these distinctions become increasingly hard to make. Today the passionate and self-motivated labor of the artisan increasingly becomes the model for a self-disciplining, self-managed labor force that works harder, longer, and often for less pay precisely because of its attachment to some degree of personal fulfillment in forms of engaging work. And that ain't no way to make a living, having to struggle three times as hard for just to have a sense of engagement in meaningful work. The Wages of Dreamwork investigates how cultural workers in the modern metropolis manage these competing tensions and demands. Does the cultural economy treat you as a tool? If so, perhaps it s time to rethink how to down tools in this metropolitan factory.

Enchantment has disappeared from our lives. Whoever dares to mention it violates the most basic epistemological canons that hold our world together and is immediately labeled ignorant or mad. It is suspicious, however, that the taboo on enchantment comes about just as the historical process of modernity begins to produce spectres and nightmares on an industrial scale. The world is populated by ghosts and no one can talk about them. Even revolutionary thought has conformed to this precept, abandoning the imaginary to the violence of fascism: an enormous historical error since it has brought about the demobilization of intelligence and sensibility on the most crucial terrain for any form of change. Uniting archeology with modernity, anthropology and yearning, Fables of Re-enchantment analyzes the knot that links disenchantment and totalitarianism; it observes the ruinous effects that it has produced for human and non-human lives; and it sketches another way of thinking of the revolution, the multiplicity, and relations with the imaginary, the pre-individual and the invisible. A book of anthropology, ecology and philosophy, written as a fable. A book for returning to wonder and to shake off fear in the years of global terror.

In Protocols for Postcapitalist Economic Expression Bryan, Lopez and Virtanen build the conditions for such a system. Where economic processes are not dictated by profit, what counts as value-creation, and is rewarded by dividends, can be collectively determined by the network. Care, the arts, the environment will not be after-thoughts, to be subsidized by states or the rich: they can be at the core of the economy''s value proposition. This book develops protocols that can generate all these processes. A blend of theoretical engagement with big economic ideas (Marx, Keynes, Hayek and others), media and information analytics and careful protocol design of token-related processes of distributed exchange, matching, netting and clearing, Protocols systematically builds an alternative to neoliberal capitalism, centrally-planned socialism and reformist social democracy. In an expressive, creative, risk-sharing, data-rich network of investing, producing, exchanging and lending, standard econo

> Paths to Autonomy began in 2020 as our effort to think these manifold paths through assemblies, talks and readings situated in the post-state socialist, Eastern European, context of Lithuania. For we, ourselves, begin in the East. It is the circumstance within and against which our path to autonomy is necessarily mediated. We, the present inheritors of state socialism's experiments, catastrophes, and subterranean potentialities step into a future conditioned not only by its highways, nuclear plants, wars, and imperialist historiographies, but also by the manifold paths of autonomy, resistance, and rebellion that arose both within and against its territories. In Paths to Autonomy you will find excavations of this parallel history of Eastern autonomism; the opening of dialogues between militants in the East and the global autonomist movement; and some critical interventions in contemporary autonomist theory. Threaded throughout the book is a lexicon of concepts formed by contributors, which can be approached on one hand as a red thread - suggesting connections and affinities amidst notable differences - and on the other as a toolkit for the journeys and struggles that await us in the cultivation of paths to come. Contributions by Katja Praznik, Stevphen Shukaitis, Marina Vishmidt, Roberto Mozzachiodi, Pawel Nowożycki, Agne Bagdziūnaite, Emilija Svobaite, and Vaida Stepanovaite, Edward Abramowski and Bartlomiej Blesznowski, Airi Triisberg and Tomas Marcinkevičius, Ayreen Anastas, Rene Gabri, Arnoldas Stramskas, and Noah Brehmer.

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

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

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

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