A unique look into young online memetic subcultures where gen Z teens explore radical politics such as: eco-extremism, neoreaction, anarcho-primitivism, transhumanism, anarcho-capitalism, alt-right, post-left, egoism and cyber-nihilism.

In depth conversations with young meme posters across the political spectrum.

The future of politics after the pandemic COVID-19 exposed the pre-existing conditions of the current global crisis. Many Western states failed to protect their populations, while others were able to suppress the virus only with sweeping social restrictions. In contrast, many Asian countries were able to make much more precise interventions. Everywhere, lockdown transformed everyday life, introducing an epidemiological view of society based on sensing, modeling, and filtering. What lessons are to be learned? The Revenge of the Real envisions a new positive biopolitics that recognizes that governance is literally a matter of life and death. We are grappling with multiple interconnected dilemmas—climate change, pandemics, the tensions between the individual and society—all of which have to be addressed on a planetary scale. Even when separated, we are still enmeshed. Can the world govern itself differently? What models and philosophies are needed? Bratton argues that instead of thinking of biotechnologies as something imposed on society, we must see them as essential to a politics of infrastructure, knowledge, and direct intervention. In this way, we can build a society based on a new rationality of inclusion, care, and prevention.

Recent years have seen a revival of the heated culture wars of the 1990s, but this time its battle ground is the internet. On one side the alt right ranges from the once obscure neo-reactionary and white separatist movements, to geeky subcultures like 4chan, to more mainstream manifestations such as the Trump-supporting gay libertarian Milo Yiannopolous. On the other side, a culture of struggle sessions and virtue signalling lurks behind a therapeutic language of trigger warnings and safe spaces. The feminist side of the online culture wars has its equally geeky subcultures right through to its mainstream expression. Kill All Normies explores some of the cultural genealogies and past parallels of these styles and subcultures, drawing from transgressive styles of 60s libertinism and conservative movements, to make the case for a rejection of the perpetual cultural turn.

"The society, politics and future of Cuba are high on the world's agenda in the 21st century. Published in association with the Absolut Art Award, Dangerous Moves presents a fascinating survey of contemporary life and culture in Cuba through some of its most daring and experimental artists. Coco Fusco analyses the ways in which the regime has wielded influence over artists in recent times, showing how - in a context in which overt political speech is subject to censorship - the language of performance has emerged as the favoured means of social commentary. Focusing on a range of performative practices in visual art, music, poetry and political activism, Fusco examines the relationship between the abject body in performance and the greater body politic of a state officially defined as revolutionary yet seeking to limit and constrain dissent. A major new piece of scholarship from a global artist, writer and thinker, this is a key addition to the canon of contemporary art writing, and will be essential reading for students and scholars as well as those with a broader interest in politics, power and contemporary art."--Publisher's description.

We are entering the Anthropocene's back loop, a time of release and collapse, confusion and reorientation, in which not only populations and climates are being upended but also physical and metaphysical grounds. Needed now are forms of experimentation geared toward autonomous modes of living within the back loop's new unsafe operating spaces.

What unites Google and Facebook, Apple and Microsoft, Siemens and GE, Uber and Airbnb? Across a wide range of sectors, these firms are transforming themselves into platforms: businesses that provide the hardware and software foundation for others to operate on. This transformation signals a major shift in how capitalist firms operate and how they interact with the rest of the economy: the emergence of ‘platform capitalism’. This book critically examines these new business forms, tracing their genesis from the long downturn of the 1970s to the boom and bust of the 1990s and the aftershocks of the 2008 crisis. It shows how the fundamental foundations of the economy are rapidly being carved up among a small number of monopolistic platforms, and how the platform introduces new tendencies within capitalism that pose significant challenges to any vision of a post-capitalist future. This book will be essential reading for anyone who wants to understand how the most powerful tech companies of our time are transforming the global economy." Also available as an audiobook.

The Extreme Self is a new kind of graphic novel that shows how you've been morphing into something else. It's about the re-making of your interior world as the exterior world becomes more unfamiliar and uncertain.The sudden arrival of the pandemic pushed the world faster and further into the 21st century. Now, life is dictated by two forces you can't see: data and the virus. Are you really built for so much change so quickly?Basar/Coupland/Obrist's prequel, The Age of Earthquakes: A Guide to the Extreme Present, became an instant cult classic. It's been described as, "a mediation on the madness of our media," and, "an abstract representation of how we feel about our digital world."Like that book, The Extreme Self collapses comedy and calamity at the speed of swipe. Dazzling images are sourced from over 70 of the world's foremost artists, photographers, technologists and musicians, while Daly & Lyon's kinetic design elevates the language of memes into a manifesto. Over fourteen timely chapters, The Extreme Self tours through fame and intimacy, post-work and new crowds, identity crisis and eternity. This is an eye-opening, provocative portrait of what's really happening to YOUContributor's include: Michael Stipe, Jarvis Cocker, Miranda July, Agnieszka Kurant, Amalia Ulman, Amnesia Scanner, Ana Nicolaescu, Ania Soliman, Anna Uddenberg, Anne Imhof, Asad Raza, Barry Doupé, Bogosi Sekhukhuni, Cao Fei, Carsten Höller, Cécile B Evans, Chen Zhou, Christine Sun Kim, Craig Green, Dennis Kavelman, Dominique Gonzalez-Foerster, Emmanuel Iduma, Farah Al Qasimi, Fatima Al Qadiri, GCC, Goshka Macuga, Heman Chong, Ian Cheng, Isabel Lewis, Jenna Sutela, Johannes Paul Raether, John Menick, Jürgen Klauke, Koo Jeong A, Lawrence Abu Hamdan, Liam Gillick, Liam Young, Lorraine O'Grady, Lucy Raven, Lynn Hershman Leeson, Miles Gertler, Momus, Pamela Rosenkranz, Pan Daijing, Paul Mpagi Sepuya, Peter Saville & Yoso Mouri, Philippe Parreno, Pierre Huyghe, Precious Okoyomon, Rachel Rose, Raja'a Khalid, Samuel Fosso, Sara Cwynar, Satoshi Fujiwara, Simon Denny, Sissel Tolaas, Sophia Al-Maria, Stéphanie Saadé, Stephanie Comilang, Suzanne Treister, Tabita Rezaire, Thomas Dozol, Thomas Hirschhorn, Trevor Paglen, Urs Lüthi, Victoria Sin, Wang Haiyang, Yaeji, Yazan Khalili, Yu Honglei, Yuri Pattison.

"Of course, everything [D'Souza] says here is accurate... But it's not going to sit well with people on the American left who, of course, are portraying themselves as the exact opposite of all of this." —RUSH LIMBAUGH The explosive new book from Dinesh D'Souza, author of the #1 New York Times bestsellers Hillary's America, America, and Obama's America. What is "the big lie" of the Democratic Party? That conservatives—and President Donald Trump in particular—are fascists. Nazis, even. In a typical comment, MSNBC host Rachel Maddow says the Trump era is reminiscent of "what it was like when Hitler first became chancellor." But in fact, this audacious lie is a complete inversion of the truth. Yes, there is a fascist threat in America—but that threat is from the Left and the Democratic Party. The Democratic left has an ideology virtually identical with fascism and routinely borrows tactics of intimidation and political terror from the Nazi Brownshirts. To cover up their insidious fascist agenda, Democrats loudly accuse President Trump and other Republicans of being Nazis—an obvious lie, considering the GOP has been fighting the Democrats over slavery, genocide, racism and fascism from the beginning. Now, finally, Dinesh D'Souza explodes the Left's big lie. He expertly exonerates President Trump and his supporters, then uncovers the Democratic Left's long, cozy relationship with Nazism: how the racist and genocidal acts of early Democrats inspired Adolf Hitler's campaign of death; how fascist philosophers influenced the great 20th century lions of the American Left; and how today's anti-free speech, anti-capitalist, anti-religious liberty, pro-violence Democratic Party is a frightening simulacrum of the Nazi Party. Hitler coined the term "the big lie" to describe a lie that "the great masses of the people" will fall for precisely because of how bold and monstrous the lie is. In The Big Lie, D'Souza shows that the Democratic Left's orchestrated campaign to paint President Trump and conservatives as Nazis to cover up its own fascism is, in fact, the biggest lie of all.

(Disclaimer: This study was written and published before the terrible Chris Chan revelations of July 30, 2021.) A CRITICAL CONFRONTATION. What can we learn from comparing the two most unique cultural figures in living memory? Warhol and Chris Chan: Both became famous while producing artwork that was often met with derision. Both became the focus of intense interest and curiosity. Their indelible personalities provoked fascination, laughter, and--at times--horror. In spite of their strangeness--or because of it--they reflect particularly pertinent aspects of the world around them. They are thought of as the oddest of oddities, and yet they represent the course of our society as a whole. From bright Pop Art to sordid underground films, Andy Warhol portrayed an America that was both familiar and avant-garde. He carried a tape recorder everywhere and prophesized that in the future everyone would be famous just for being themselves. Several decades later, Chris Chan embodies Warhol's dream as it has turned nightmarish. Thanks to the internet Chris has become known worldwide, is constantly documented, observed, scrutinized, and made the subject of mass debate and media analysis. Warhol worked to legitimize popular culture and give it the prestige of high art. But more recent generations have grown up breathing pop culture as if it were air. "Young at heart", people continue playing video games and collecting toys into adulthood, and favorite entertainment franchises are treated akin to religions. More than anyone else, Chris Chan emblematizes the excesses of this era. This comprehensive study investigates the parallels and divergences between Warhol and Chris Chan, both of whom can be seen as bellwethers of cultural shifts. The two are compared in terms of how they relate to the following elements--from the fundamentals of life to the themes of our age: ● Names & Words ● Collecting & Hoarding ● Consumerism ● Technology & Media ● Women . . . Sex . Transgenderism . . Femdom ● Fame: Mythologies of Self & Multiverse ● Recording A wide spectrum of knowledge is painstakingly drawn upon to analyze our two subjects from all angles. References and points of comparison are made to elements of: ● Art history ● Classic film ● Modernist literature ● Philosophy (from Plato to the postmodern) ● Popular music ● Psychology (especially psychoanalysis) ● Internet meme culture Through pathos and ridiculousness, in an uncertain world that's constantly changing, we trace the human spirit as it passes from the golden age of Americana... through the high Warholian era... and now into social media squalor. (NOTES: 1. Chris Chan's pronouns are indeed respected throughout this study. 2. Though the author takes a critical and often negative view of Chris Chan, Chris Chan approved of the book after it was published. 3. Chris Chan is in no way financially connected to this project.)