Eric Wilson's work poses crucial challenges to social theory, unsettling our understanding of the nature of the liberal democratic state. In The Spectacle of the False Flag, he urges the reader to examine the, often unconsidered, deep state practices that confound conventional notions of the state as monolithic or uniform. This compelling volume traces deep state conflicts and convergences through central cases in the development of American political economic power-JFK/Dallas, LBJ/Gulf of Tonkin, and Nixon/Watergate.Rigorously documented and unflinchingly analyzed, The Spectacle of the False Flag provides a stunning example of a new criminological practice-one that takes the state seriously, making the inner workings of the state rather than its effects the primary object of study. Drawing upon a wealth of historical records and developing the theoretical insights of Guy Debord's writings on spectacular society, Wilson offers a glimpse into a necessary criminology to come.

Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation - memes are the inner currency of the internet's circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. POST MEMES: SEIZING THE MEMES OF PRODUCTION takes advantage of the meme's subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century's most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons. With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet's most viral phenomenon. ABOUT THE EDITORS ALFIE BOWN is the author of several books including "The Playstation Dreamworld" (Polity, 2017) and "In the Event of Laughter: Psychoanalysis, Literature and Comedy" (Bloomsbury, 2018). He is also a journalist for the Guardian, the Paris Review, and other outlets. DAN BRISTOW is a recovering academic, a bookseller, and author of "Joyce and Lacan: Reading, Writing, and Psychoanalysis" (Routledge, 2016) and "2001: A Space Odyssey and Lacanian Psychoanalytic Theory" (Palgrave, 2017). He is also the co-creator with Alfie Bown of Everyday Analysis, now based at New Socialist magazine.

Diseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état. Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation - it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror.

If parapolitics, a branch of radical criminology that studies the interactions between public entities and clandestine agencies, is to develop as an academic discipline, then it must develop a coherent theory of aesthetics in order to successfully perform its primary function: to render perceptible extra-judicial phenomena that have hitherto resisted formal classification. Wilson offers the work of H.P. Lovecraft (1890-1937) as an example of the relevance of subversive literature-in this case, cosmic horror and the weird tale-to the parapolitical criminologist. Cosmic horror is a form of writing that relies heavily upon the epistemological assumption of a radical and irreconcilable disjunction between appearance and reality, perception and truth. In many ways, the well-constructed weird tale strongly resembles the hard-boiled detective story or the noir thriller in that the resolution of the narrative hinges upon a dramatically shattering confrontation with an unspeakable reality. Apart from its obvious utilization of conspiracy theory, the primary attraction of the Lovecraftian text lies with its remarkably sophisticated utilization of two central tropes of classical aesthetic theory-the sublime and the grotesque. Not only does Lovecraft's oeuvre represent a remarkable use of both of these motifs, but the raw literary power of the Lovecraftian weird tale serves as an outstanding exemplar for the parapolitical scholar to emulate in formulating an alternative mode of discourse, or poetics.

Humanity Is Consumed by Relentless Transformation Like a thief in the night, artificial intelligence has inserted itself into our lives. It makes important decisions for us every day. Often, we barely notice. As Joe Allen writes in this groundbreaking book, “Transhumanism is the great merger of humankind with the Machine. At this stage in history, it consists of billions using smartphones. Going forward, we’ll be hardwiring our brains to artificial intelligence systems.” The world-famous robot, Sophia, symbolizes a rising techno-religion. She takes her name from the goddess—or Aeon—whose fall from grace is described in the Gnostic Gospels. With an academic background in both science and theology, Allen confronts the paradox of what he calls “good people constructing a digital abomination.” Dark Aeon is nothing less than a cri de coeur for humanity itself. He takes us on a roller coaster ride through history and the emergence of Scientism, and from government-mandated mRNA vaccines to the weird visions of cyborg billionaires like Elon Musk. From Silicon Valley to China, these globalists’ visions of humanity’s future, exposed and described in Dark Aeon, are dire and terrifying. But Joe Allen argues that humanity’s salvation is within our grasp. Only if we refuse to avert our eyes from the impending twilight before us.

First published in 1988, Herman and Chomsky’s Manufacturing Consent remains the go-to book for those interested in understanding why the mainstream media act as vehicles for power-elite propaganda. The analytical heart of Manufacturing Consent lies in what it calls ‘The Propaganda Model.’ According to this model, there are five filters which all newsworthy stories have to pass through before reaching the public sphere. However, a lot has changed in the subsequent thirty-something years. Consequently, a key question that needs to be addressed is whether Manufacturing Consent is still fit for purpose. The conceit underpinning Understanding Media Propaganda in the 21st Century: Manufacturing Consent Revisited and Revised is that the election of Trump in 2016 constitutes the proverbial ‘year zero’ for fourth estate journalism. As a result of the ‘journalistic’ cultural revolution that ensued, it argues that the Propaganda Model needs to be overhauled if it is to retain its epistemological bona fides. To this end, this book is a radical—in the true critical sense of the word—intervention into the propaganda/fake news debate. For students (in the broadest sense of the term) of media studies, journalism, communication studies and sociology, it provides both a compelling critique of Herman and Chomsky’s Propaganda Model, while at the same time proffering a new explanatory model to understand why MSM output typically replicates the ‘stenographer for power’ playbook.

Drawing on classical Husserlian resources as well as existentialist and hermeneutical approaches, this book argues that critique is largely a question of method. It demonstrates that phenomenological discussions of acute social and political problems draw from a rich tradition of radically critical investigations in epistemology, social ontology, political theory, and ethics. The contributions show that contemporary phenomenological investigations of various forms of oppression and domination develop new critical-analytical tools that complement those of competing theoretical approaches, such as analytics of power, critical theory, and liberal philosophy of justice. More specifically, the chapters pay close attention to the following methodological themes: the conditions for the possibility of phenomenology as critique; critique as radical reflection and free thinking; eidetic analysis and reflection of transcendental facticity and contingency of the self, of others, of the world; phenomenology and immanent critique; the self-reflective dimensions of phenomenology; and phenomenological analysis and self-transfermation and world transformation. All in all, the book explicates the multiple critical resources phenomenology has to offer, precisely in virtue of its distinctive methods and methodological commitments, and thus shows its power in tackling timely issues of social injustice. Phenomenology as Critique: Why Method Matters will appeal to researchers and advanced students working in phenomenology, Continental philosophy, and critical theory.

The Das Kapital of the 20th century,Society of the Spectacle is an essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's, in particular the May 1968 uprisings in France, up to the present day, with global capitalism seemingly staggering around in it’s Zombie end-phase, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life in the late 20th century. This ‘Red and Black’ translation from 1977 is Introduced by Notting Hill armchair insurrectionary Tom Vague with a galloping time line and pop-situ verve, and given a more analytical over view by young upstart thinker Sam Cooper.

It is the year 2024, and the populist, United States President, Donald Trump, has left office. A new globalist puppet, Lee Brighton, is installed as president as the Deep State has regained control of the presidential office. The Deep State has unleashed a series of events to bring in their long-awaited New World Order. However, very few people understand what is really going on, as the Deep State propaganda machine goes into overdrive! Christians and Patriots are now targets in America and the rest of the world! Buck Robinson is keenly aware of the situation. As a devout student of Bible prophecy and the New World Order, he has put together all of the dots. He understands that the events of Ezekiel 37 have occurred and that the beginning of the prophetic seven-year Tribulation period has begun! The Christian Resistance Army has arisen, but who or what is it exactly? Buck knows, and this knowledge has made him a target of the Satanic Deep State as they begin to implement the New World Order!