In Hito Steyerl's writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl's landmark essays from recent years in which she has steadily developed her very own politics of the image. Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings. e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle

The sixtieth anniversary edition of Frantz Fanon’s landmark text, now with a new introduction by Cornel West First published in 1961, and reissued in this sixtieth anniversary edition with a powerful new introduction by Cornel West, Frantz Fanon’s The Wretched of the Earth is a masterfuland timeless interrogation of race, colonialism, psychological trauma, and revolutionary struggle, and a continuing influence on movements from Black Lives Matter to decolonization. A landmark text for revolutionaries and activists, The Wretched of the Earth is an eternal touchstone for civil rights, anti-colonialism, psychiatric studies, and Black consciousness movements around the world. Alongside Cornel West’s introduction, the book features critical essays by Jean-Paul Sartre and Homi K. Bhabha. This sixtieth anniversary edition of Fanon’s most famous text stands proudly alongside such pillars of anti-colonialism and anti-racism as Edward Said’s Orientalism and The Autobiography of Malcolm X.

In Hito Steyerl's writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl's landmark essays from recent years in which she has steadily developed her very own politics of the image. Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings. e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle

World Literature for the Wretched of the Earth recovers a genealogy of anticolonial thought that advocated collective inexpertise, unknowing, and unrecognizability. Early-twentieth-century anticolonial thinkers endeavored to imagine a world emancipated from colonial rule, but it was a world they knew they would likely not live to see. Written in exile, in abjection, or in the face of death, anticolonial thought could not afford to base its politics on the hope of eventual success, mastery, or national sovereignty. J. Daniel Elam shows how anticolonial thinkers theorized inconsequential practices of egalitarianism in the service of an impossibility: a world without colonialism. Framed by a suggestive reading of the surprising affinities between Frantz Fanon’s political writings and Erich Auerbach’s philological project, World Literature for the Wretched of the Earth foregrounds anticolonial theories of reading and critique in the writing of Lala Har Dayal, B. R. Ambedkar, M. K. Gandhi, and Bhagat Singh. These anticolonial activists theorized reading not as a way to cultivate mastery and expertise but as a way, rather, to disavow mastery altogether. To become or remain an inexpert reader, divesting oneself of authorial claims, was to fundamentally challenge the logic of the British Empire and European fascism, which prized self-mastery, authority, and national sovereignty. Bringing together the histories of comparative literature and anticolonial thought, Elam demonstrates how these early-twentieth-century theories of reading force us to reconsider the commitments of humanistic critique and egalitarian politics in the still-colonial present.

What is the function of art in the era of digital globalization? How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating,” in which paintings surveil their audience via facial recognition and eye tracking to assess their popularity and to scan for suspicious activity. In Duty Free Art, filmmaker and writer Hito Steyerl wonders how we can appreciate, or even make art, in the present age. What can we do when arms manufacturers sponsor museums, and some of the world’s most valuable artworks are used as currency in a global futures market detached from productive work? Can we distinguish between information, fake news, and the digital white noise that bombards our everyday lives? Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production.

A strange glowing stone picked up on a sea voyage captivates a ship's crew and has a terrible transforming effect on them.

“Arise Ye Wretched of the Earth” provides a fresh account of the International Working Men’s Association. Founded in London in 1864, the First International gathered trade unions, associations, co-operatives, and individual workers across Europe and the Americas. The IWMA struggled for the emancipation of labour. It organised solidarity with strikers. It took sides in major events, such as the 1871 Paris Commune. It soon appeared as a threat to European powers, which vilified and prosecuted it. Although it split up in 1872, the IWMA played a ground-breaking part in the history of working-class internationalism. In our age of globalised capitalism, large labour migration, and rising nationalisms, much can be learnt from the history of the first international labour organisation. Contributors are: Fabrice Bensimon, Gregory Claeys, Michel Cordillot, Nicolas Delalande, Quentin Deluermoz, Marianne Enckell, Albert Garcia Balaña, Samuel Hayat, Jürgen Herres, François Jarrige, Mathieu Léonard, Carl Levy, Detlev Mares, Krzysztof Marchlewicz, Woodford McClellan, Jeanne Moisand, Iorwerth Prothero, Jean Puissant, Jürgen Schmidt, Antje Schrupp, Horacio Tarcus, Antony Taylor, Marc Vuilleumier.

What is the relationship between capitalism and mental health? Through an exhilarating mix of philosophical and psychoanalytical theory and reportage - from the suicide epidemic in Korea to the wave of American mass murders - the prominent Italian thinker Franco Berardi Bifo traces the social roots of the mental malaise of our age. His darkest and most unsettling book to date, Berardi proposes dystopian irony as a strategy to disentangle ourselves from the deadly embrace of the neoliberalism.

Frantz Fanon's seminal work on anticolonialism and the fifth year of the Algerian Revolution. Psychiatrist, humanist, revolutionary, Frantz Fanon was one of the great political analysts of our time, the author of such seminal works of modern revolutionary theory as The Wretched of the Earth and Black Skin, White Masks. He has had a profound impact on civil rights, anticolonialism, and black consciousness movements around the world. A Dying Colonialism is Fanon's incisive and illuminating account of how, during the Algerian Revolution, the people of Algeria changed centuries-old cultural patterns and embraced certain ancient cultural practices long derided by their colonialist oppressors as "primitive," in order to destroy those oppressors. Fanon uses the fifth year of the Algerian Revolution as a point of departure for an explication of the inevitable dynamics of colonial oppression. This is a strong, lucid, and militant book; to read it is to understand why Fanon says that for the colonized, "having a gun is the only chance you still have of giving a meaning to your death."