Bøger udgivet af Autonomedia

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.

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

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

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

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

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

The third of Gary Indiana's famed crime trilogy tells a story inspired by the virtuoso con artistry of mother-and-son criminals Sante and Kenneth Kimes.

A novel that describes, with devastating, darkly comic clarity, its narrator's experience of being diagnosed with AIDS.

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

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

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

A writer casts an acerbic, queer eye on the greats and the not-so-greats of Hollywood's Golden Age. Ronnie Reagan's bizarre legs are sufficient reason to watch John Loves Mary (1949), a picture so ordinaire it needs this bizarre touch. When the faces in this historic still from the Museum of Modern Art are cropped, Reagan could pass for a butch lez from the Women's Army Corps who is about to put the old make on a fluff (Patricia Neal).—from Cruising the MoviesCruising the Movies was Boyd McDonald's "sexual guide” to televised cinema, originally published by the Gay Presses of New York in 1985. The capstone of McDonald's prolific turn as a freelance film columnist for the magazine Christopher Street, Cruising the Movies collects the author's movie reviews of 1983-1985. This new, expanded edition also includes previously uncollected articles and a new introduction by William E. Jones.Eschewing new theatrical releases for the "oldies” once common as cheap programing on independent television stations, and more interested in starlets and supporting players than leading actors, McDonald casts an acerbic, queer eye on the greats and not-so-greats of Hollywood's Golden Age. Writing against the bleak backdrop of Reagan-era America, McDonald never ceases to find subversive, arousing delights in the comically chaste aesthetics imposed by the censorious Motion Picture Production Code of 1930-1968.Better known as the editor of the Straight to Hell paperback series—a compendia of real-life sexual stories that is part pornography, part ethnography—McDonald in his film writing reveals both his studious and sardonic sides. Many of the texts in Cruising the Movies were inspired by McDonald's attentive inspection of the now-shuttered MoMA Film Stills Archive, and his columns gloriously capture a bygone era in film fandom. Gay and subcultural, yet never reducible to a zany cult concern or mere camp, McDonald's "reviews” capture a lost art of queer cinephilia, recording a furtive obsession that once animated gay urban life. With lancing wit, Cruising celebrates gay subculture's profound embrace of mass culture, seeing film for what it is—a screen that reflects our fantasies, desires, and dreams.

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

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

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