a kind of forever present that takes the form of a theatrical script to perform a fictitious conversation among cultural theorists that considers what ever happened to postmodernism. The script culls parts of seminal texts by Fredric Jameson, Jean Baudrillard, Jürgen Habermas, Clement Greenberg and Jennifer Allen and combines them into a discussion about the transformation of postmodernism into a hybrid, constant stream of social media and digital technology that inherently changes our relationship with time.

The compositions, essays, videos and architectural projects in this collection explore strategies and technologies of investigating beyond the predominantly Western modernist architectural format and the main framework for today’s uncontested architectural sites, trying to obscure, contradict or amplify on the notions of modernity. Echoing processual music terminologies, the dissonant practices and structures transform energy, twist and interfere with the virtual and physical context around, in a macro form on the territory of the complexity drive to change the ideologies of the fixed urban form. Through the approach of decolonial thinking being and doing one question that emerges is how to ...

In the age of global capitalism, vaporwave celebrates and undermines the electronic ghosts haunting the nostalgia industry. Ours is a time of ghosts in machines, killing meaning and exposing the gaps inherent in the electronic media that pervade our lives. Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media’s ability to appear – as media theorist Jeffrey Sconce terms it – “haunted.” Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music ...

It is easier to imagine the end of the world than the end of capitalism. After 1989, capitalism has successfully presented itself as the only realistic political-economic system – a situation that the bank crisis of 2008, far from ending, actually compounded. The book analyses the development and principal features of this capitalist realism as a lived ideological framework. Using examples from politics, film (Children Of Men, Jason Bourne, Supernanny), fiction (Le Guin and Kafka), work and education, it argues that capitalist realism colours all areas of contemporary experience, is anything but realistic and asks how capitalism and its inconsistencies ...

From the repurposed rubble of salvagepunk to undead hordes banging on shopping mall doors, from empty waste zones to teeming plagued cities, Combined and Uneven Apocalypse grapples with the apocalyptic fantasies of our collapsing era. Moving through the films, political tendencies, and recurrent crises of late capitalism, Evan Calder Williams paints a black toned portrait of the dream and nightmare images of a global order gone very, very wrong. Situating itself in the defaulting financial markets of the present, Combined and Uneven Apocalypse glances back toward a messy history of zombies, car wrecks, tidal waves, extinction, trash heaps, ...

West Africa’s Guinea-Bissau declared unilaterally independence in 1973 and was recognized internationally in 1975 along with the other former Portuguese colonies. Luta ca caba inda (The Struggle Is Not Over Yet) is the title of a documentary film on the country’s post-independence left unfinished in 1980. Even in its fragmentary form, it is but one of several testimonies of a decade of militant cinema in the country, as part of the people’s struggle for independence from Portuguese colonialism, between 1963 and 1974, and the subsequent nation-building. The remains of this period of politically-engaged cinema, including finished and unfinished Guinean films, audio recordings, and ...

Decolonising Museums is the second thematic publication of L’Internationale Online; it addresses colonial legacies and mindsets, which are still so rooted and present today in the museum institutions in Europe and beyond. The publication draws from the conference Decolonising the Museum which took place at MACBA in Barcelona, 27-29 November 2014 (among the contributors to this thematic issue, Clémentine Deliss, Daniela Ortiz and Francisco Godoy Vega participated at this seminar), and offers new essays, responding to texts published on the online platform earlier this year.

Thanks to everyone who came out to our fifth anniversary party in December. It’s 2014 now and we are still hungover. But we want to tell you about a very strange thing that happened to us there. Late in the night we met a young Chinese artist through a friend, and she told us about a recurring nightmare of hers. What happens most nights is this: each time she produces an artwork, a giant barbarian with a long beard appears wielding a sword as long as a person is tall. And with the rounded blade of the sword, he slices ...

Egress is the first book to consider the legacy and work of the writer, cultural critic and cult academic Mark Fisher. Narrated in orbit of his death as experienced by a community of friends and students in 2017, it analyses Fisher’s philosophical trajectory, from his days as a PhD student at the University of Warwick to the development of his unfinished book on Acid Communism. Taking the word “egress” as its starting point — a word used by Fisher in his book The Weird and the Eerie to describe an escape from present circumstances as experiences by the characters in countless examples ...

This collection of writings by Mark Fisher, author of the acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

Max Andrews (1975) and Mariana Cánepa Luna (1977) are the co-founders of Latitudes, an independent curatorial office based in Barcelona, which works internationally within the field of contemporary art. Informed by an initial focus on ecology, Latitudes is especially interested in site, process and context. In this text, originally written in English, Latitudes gives us the clues to understand the first experimental videos by the artist José Antonio Hernández-Díez (b. Caracas, Venezuela, 1964), along with his other early works using screens and vitrines. The exhibition shows what the artist termed as a “New Christian Iconography,” and as the curators claim, “neither ...

Edited by Darren Ambrose and with a foreword by Simon Reynolds, this comprehensive collection brings together the very best work of acclaimed blogger, writer, publisher, political activist and lecturer Mark Fisher (aka k-punk) who died in 2017. Covering the period 2004–2016, it includes some of the most incendiary and influential posts from his seminal blog k-punk, as well as a selection of his brilliantly insightful film, television and music reviews, together with his extraordinary writings on politics, activism, precarity, hauntology, mental health and popular modernism for numerous websites and magazines. Also included is his final unpublished k-punk post, the unfinished ...