Bøger udgivet af Autonomedia

The short, obscure, and prolific life of the German expressionist painter Paula Modersohn-Becker (1876-1907), a significant figure in modernism.

Tales of life in North Africa that flirt with strategies of revelation and concealment, by the first openly gay writer to be published in Morocco.Tangier is a possessed city, haunted by spirits of different faiths. When we have literature in our blood, in our souls, it's impossible not to be visited by them.—from Another MoroccoIn 2006, Abdellah Taïa returned to his native Morocco to promote the Moroccan release of his second book, Le rouge du tarbouche (The Red of the Fez). During this book tour, he was interviewed by a reporter for the French-Arab journal Tel Quel, who was intrigued by the themes of homosexuality she saw in his writing. Taïa, who had not publically come out and feared the repercussions for himself and his family of doing so in a country where homosexuality continues to be outlawed, nevertheless consented to the interview and subsequent profile, "Homosexuel envers et contre tous” ("Homosexual against All Odds”). This interview made him the first openly gay writer to be published in Morocco.Another Morocco collects short stories from Taïa's first two books, Mon Maroc (My Morocco) and Le rouge du tarbouche, both published before this pivotal moment. In these stories, we see a young writer testing the porousness of boundaries, flirting with strategies of revelation and concealment. These are tales of life in a working-class Moroccan family, of a maturing writer's fraught relationship with language and community, and of the many cities and works that have inspired him. With a reverence for the subaltern—for the strength of women and the disenfranchised—these stories speak of humanity and the construction of the self against forces that would invalidate its very existence. Taïa's work is, necessarily, a political gesture.

A sardonic and artful reconstruction of the brief life of the party boy who became a media sensation for shooting Gianni Versace.

One of the first comprehensive treatments of Deleuzian thought.There is always something schizophrenic about logic in Deleuze, which represents another distinctive characteristic: a deep perversion of the very heart of philosophy. Thus, a preliminary definition of Deleuze's philosophy emerges: an irrational logic of aberrant movements.—from Aberrant MovementsIn Aberrant Movements, David Lapoujade offers one of the first comprehensive treatments of Deleuzian thought. Drawing on the entirety of Deleuze's work as well as his collaborations with Félix Guattari, from the "transcendental empiricism” of Difference and Repetition to the schizoanalysis and geophilosophy of Anti-Oedipus and A Thousand Plateaus, Lapoujade explores the central problem underlying the delirious coherence of Deleuze's philosophy: aberrant movements. These are the movements that Deleuze wrests from Kantian idealism, Nietzsche's eternal return, and the nonsense of Lewis Carroll; they are the schizophrenic processes of the unconscious and the nomadic line of flight traversing history—in short, the forces that permeate life and thought. Tracing and classifying their "irrational logics” represent the quintessential tasks of Deleuzian philosophy. Rather than abstract notions, though, these logics constitute various modes of populating the earth—involving the human as much as the animal, physical, and chemical—and the affective, mental, and political populations that populate human thought. Lapoujade argues that aberrant movements become the figures in a combat against the forms of political, social, philosophical, aesthetic, and scientific organization that attempt to deny, counter, or crush their existence. In this study of a thinker whose insights, theoretical confrontations, and perverse critiques have profoundly influenced philosophy, literature, film, and art over the last fifty years, Lapoujade invites us to join in the discordant harmonies of Deleuze's work—and in the battle that constitutes the thought of philosophy, politics, and life.

The complete art world story/essays of the fictional Madame Realism, collected for the first time.The Complete Madame Realism and Other Stories gathers together Lynne Tillman's groundbreaking fiction/essays on culture and places, monuments, artworks, iconic TV shows, and received ideas, written in the third person to record the subtle, ironic, and wry observations of the playful but stern "Madame Realism.”Through her use of a fictional character, Tillman devised a new genre of writing that melded fiction and theory, sensation, and critical thought, disseminating her third-person art writer's observations in such magazines as Art in America and in a variety of art exhibition catalogs and artist books. Two decades after the original publication of these texts, her approach to investigation through embodied thought has been wholly absorbed by a new generation of artists and writers. Provocative and wholly pleasurable, Tillman's stories/essays dissect the mundane with alarming precision. As Lydia Davis wrote of her work, "Our assumptions shift. The every day becomes strange, paradox is embraced, and the unexpected is always around the corner.”This new collection also includes the complete stories of Tillman's other persona, the quixotic author Paige Turner (whose investigation of the language of love overshoots any actual experience of it), and additional stories and essays that address figures such as the "Translation Artist” and Cindy Sherman.

First cross-disciplinary collection exploring the anarcho-punk scene.

Occupation Culture is the story of a journey through the world of recent political squatting in Europe, told by a veteran of the 1970s and '80s New York punk art scene. It is also a kind of scholar adventure story. Alan W. Moore sees with the trained eye of a cultural historian, pointing out pasts, connections and futures in the creative direct action of today's social movements. Occupation Culture is based on five years of travel and engaged research. It explicates the aims, ideals and gritty realities of squatting. Despite its stature as a leading social movement of the late twentieth century, squatting has only recently received scholarly attention. The rich histories of creative work that this movement enabled are almost entirely unknown.

Raunig develops a philosophy of dividuality as a way of addressing contemporary modes of production and forms of life.The animal of the molecular revolution will be neither mole nor snake, but a drone-animal-thing that is solid, liquid, and a gas.—from DividuumAs the philosophical, religious, and historical systems that have produced the "individual” (and its counterparts, society and community) over the years continue to break down, the age of "dividuality” is now upon us. The roots of the concept of the "dividuum” can be traced back to Latin philosophy, when Cicero used the term to translate the "divisible” in the writings of Epicurus and Plato; later, medieval scholars utilized the term in theological discussions on the unity of the trinity. Grounding himself in the writings of the medieval bishop Gilbert de Poitiers and his extensive commentaries on Boethius, Gerald Raunig charts a genealogy of the concept and develops a philosophy of dividuality as a way of addressing contemporary modes of production and forms of life. Through its components of dispersion, subsistence, and similarity, dividuality becomes a hidden principle of obedience and conformity, but it also brings with it the potential to realize disobedience and noncompliant con/dividualities.Raunig's bad news is that dividuality is responsible for much of the intensified exploitation and enslavement taking place under contemporary machinic capitalism. Algorithms, derivatives, big data, and social media technology all contribute to the rampant expansion of divisive management strategies and desires for self-division. The good news, however, is that this same terrain of dividuality presents an opportunity for a new kind of resistance, one that can be realized in the form of con/division.

A bored twenty-three-year-old woman suddenly leaves her dull suburban job for L.A., becomes Internet-famous, and falls in love—Zelda to a semi-famous Scott.One day, I was not famous, the next day, I was almost famous and the temptation to go wide with that and reject my past was too great. When I was legit famous, it was hard to tell when the change had occurred... If I had been born famous, the moment I would have started engaging in social media, I would have seen this fame, not the rise of it. But first I saw the low numbers, and later, the high ones.—from SurveysWryly mirroring the classic, female coming-of-age narrative, Natasha Stagg's debut traces a few months in the life of Colleen, a twenty-three-year-old woman with almost no attachments or aspirations for her life. Working at an unsatisfying mall job in Tucson, Colleen sleepwalks through depressing office politics and tiresome one-night stands in a desultory way, becoming fully alive only at night when she's online. Colleen attains ambiguous Internet stardom when she's discovered by Jim, a semi-famous icon of masculinity and reclusiveness.When Colleen quits her job and moves to meet Jim in Los Angeles, she immediately falls in love and begins a new life of whirlwind parties and sponsored events. The pair's relationship, launched online, makes them the Scott and Zelda of their generation, and they tour the country, cashing in on the buzz surrounding their romance. But as their fame expands, Colleen's jealousy grows obsessive.

A detailed analysis of how Deleuze and Guattari's work engaged with the upheavals of their time. Often approached through their "micropolitics of desire,” the joint works of Deleuze and Guattari are rarely part of the discussion when classical and contemporary problems of political thought come under scrutiny. Yet if we follow the trajectory from Anti-Oedipus (1972) to A Thousand Plateaus (1980), it becomes clear that these problems were redeveloped during a period of historical transition marked by the end of the wars of decolonization, the transformation of global capitalism, and by recombinations of the forces of collective resistance that were as deep as they were uncertain.In State and Politics, Guillaume Sibertin-Blanc measures how Deleuze and Guattari engage with the upheavals of their time by confronting their thought with its main interlocutor, Marxism, with its epistemological field (historical materialism), with its critical program (the critique of political economy), and with its political grammar (class struggle). Three new hypotheses emerge from these encounters: the hypothesis of the Urstaat, embodying an excess of sovereign violence over the State apparatus and over its political investments; the hypothesis of a power of the "war machine” that States can only ever appropriate partially, and to which they can be subordinated; and the hypothesis of an excess of "destructivism” in capitalist accumulation over its productive organization. These three excesses betray the haunting presence of the period between the wars in the political thought of Deleuze and Guattari, but they also allow Deleuze and Guattari's ideas to communicate with contemporary thinkers of the impolitical. The reader discovers not only a new political theory but also the plurality of ways in which extreme violence—violence capable of destroying politics itself—can arise.

Sharp, acerbic, and humorous writings that approach psychoanalysis and celebrity on a first-name basis, with subjects that range from Oprah Winfrey to William Eggleston.

The changes taking place in our aesthetic and emotional sensibility: a deep mutation in the psychosphere, caused by semio-capitalism.Franco "Bifo” Berardi's newest book analyzes the contemporary changes taking place in our aesthetic and emotional sensibility—changes the author claims are the result of semio-capitalism's capturing of the inner resources of the subjective process: our experience of time, our sensibility, the way we relate to each other, and our ability to imagine a future. Precarization and fractalization of labor have provoked a deep mutation in the psychosphere, and this can be seen in the rise of psychopathologies such as post-traumatic stress disorder, autism, panic, and attention deficit disorder. Sketching out an aesthetic genealogy of capitalist globalization, Berardi shows how we have arrived at a point of such complexity in the semiotic flows of capital that we can no longer process its excessive currents of information. A swarm effect now rules: it has become impossible to say "no.” Social behavior is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.Arguing for disentanglement rather than resistance, Berardi concludes by evoking the myth of La Malinche, the daughter of a noble Aztec family. It is a tale of a translator and traitor who betrayed her own people, yet what the myth portends is the rebirth of the world from the collapse of the old.

A clear-eyed critique of collegiate jurisprudence, as the process of administering student protests and sexual-assault complaints rolls along a Moebius strip of shifting legality.

A lyrical account of a childhood spent in a castle disguised as a psychiatric clinic, written by the daughter of Félix Guattari.A moment later, Lacan is chattering with me, and giving me some crayons to draw with.—from I, Little AsylumFounded in 1951 and renowned in the world of psychiatry, the experimental psychiatric clinic of La Borde sought to break with the traditional internment of the mentally ill and to have them participate in the material organization of collective life. The clinic owed much of its approach to psychoanalyst and philosopher Félix Guattari, who was its codirector with Jean Oury until 1992. In this lyrical chronicle of a childhood at La Borde, Félix Guattari's daughter Emanuelle Guattari offers a series of impressionistic vignettes drawn from her own experiences. As a child whose parents worked in the clinic, Emanuelle Guattari ("Manou”) experienced La Borde—which is housed in a castle in the middle of a spacious park—as a place not of confinement but of imagination and play. She evokes a landscape that is surreal but also mundane, describing the fat monkey named Boubou her father kept at the clinic, interactions between the "La Borde kids” and the "Residents” (aka, the "Insane,” feared by the locals), the ever fascinating rainbow-hued "shit pit” on the grounds, and prank-calls to the clinic switchboard. And, of course, there is Félix Guattari himself, at the dinner table, battling a rat, and in his daughter's dreams. Emmanuelle Guattari's tale of childlike wonder offers a poetic counterpoint to the writings of her father and his intellectual circle.

A tale of ambivalent friendship and obsession with a fashionable drifter named Nicola in the fashionable city named Milan.

Writings by Negri on the brief thaw in the cold winter of neoliberalism, Thatcherism, Reaganomics, and counterrevolution.

The lyrical story of a Mexican family torn apart by the fragility and madness of one of its members.

With the economy deindustrialized and the working class decentralized, a call for alternative horizons for resistance: the university and the art world.What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and creative labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept of "modulation” as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience.

A young woman's fabulist search for her long-lost twin brother overturns all notions of motherhood, magic realism, and miscegenation.

A report on the administration of deviant desire in specialized clinics that documents the way our postmodern society exposes sexuality to the point of overexposure.

A collection of stories told through the movies that revisits the lower Manhattan art world and the Atlantic haven of Provincetown in the 1980s.Masha Tupitsyn's Beauty Talk & Monsters is a debut collection of stories told through the movies. Equally influenced by Brian De Palma and Kathy Acker, Tupitsyn revisits the ruins of a childhood and youth nurtured on the fringe of the glittering lower Manhattan art world and the Atlantic haven of Provincetown in the 1980s. Moving fluidly through space, time, and a range of cinematic frameworks, Tupitsyn cuts through the cynical glamour and illusion of Hollywood to a soft, secret heart.Her narrator, a female loner and traveler, is caught in the maelstrom of films and images, where life is experienced through the eye of a camera lens and seen through the light on the screen. In a precise and elegant style, Beauty Talk & Monsters embraces and confronts a lineage of familiar myths and on- and off-screen cinematic excess in order to challenge the silver screen's century of power over our dreams and ideals. Intimate and intellectual, Tupitsyn's stories play with the cinema's most popular icons and images.

Artist David Wojnarowicz on his work, his aspirations, his personal history, his political views; Wojnarowicz in dialogue with Sylvère Lotringer, along with personal accounts from friends and fellow artists collected after Wojnarowicz's death.In February 1991, the artist David Wojnarowicz (1954-1992) and the philosopher Sylvère Lotringer met in a borrowed East Village apartment to conduct a long-awaited dialogue on Wojnarowicz's work. Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of morals crusader Senator Jesse Helms—a notoriety that Wojnarowicz alternately embraced and rejected. Already suffering the last stages of AIDS, David saw his dialogue with Lotringer as a chance to set the record straight on his aspirations, his personal history, and his political views. The two arranged to have this three-hour dialogue video-recorded by a mutual friend, the artist Marion Scemama. Lotringer held on to the tape for a long time. After Wojnarowicz's death the following year, he found the transcript enormously moving, yet somehow incomplete. David was trying, often with heartbreaking eloquence, to define not just his career but its position in time. The subject was huge, and transcended the actual dialogue. Lotringer then spent the next several years gathering additional commentary on Wojnarowicz's life and work from those who knew him best—the friends with whom he collaborated. Lotringer solicited personal testimony from Wojnarowicz's friends and other artists, including Mike Bildo, Steve Brown, Julia Scher, Richard Kern, Carlo McCormick, Ben Neill, Kiki Smith, Nan Goldin, Marguerite van Cook, and others. What emerges from these masterfully-conducted interviews is a surprising insight into something art history knows, but systematically hides: the collaborative nature of the work of any "great artist." All these respondents had, at one time, made performances, movies, sculptures, photographs, and other collaborative works with Wojnarowicz. In this sense, Wojnarowicz appears not only as a great originator, but as a great synthesizer.