Christian Eschatology of Artificial Intelligence: Pastoral Technologies of Cybernetic Flesh

This book proposes a reversal of a common convention within contemporary critical theory, the idea that desire is an entropic, creative and potentially emancipatory force. Against this view, the author figures desire as negentropic, structured around stability, prediction, and calculation. Far from being disrupted by technocapital, this desire finds there a troubling affinity, and is seemingly propelled towards increasingly self-destructive forms. Retrograde Prometheus, part a poetic narrative, and part speculative treatise, seeks to reformulate these categories through which we understand desire, along with all the existential, ethical, and political implications that such a radical change in perspective may entail. 

So much has changed since Anti-Oedipus (or even since Anti-Narcissus!), let alone since the Seminars of Lacan—the amount that has changed since Freud, therefore, is unimaginable. Where is psychoanalysis today, post-internet, post-covid? What has changed for the subject (as well as how we understand the subject) due to these advancements in technology and science, with these changes in how we understand our history and genesis, and with how we understand the relationship between technology, language and worlds?

Retrograde Prometheus tells a story of psychoanalysis today—two decades into the Ontological Turn—and its encounter with computation, advancements in quantum theory, with Exocapitalism, with pluralism, and so on.

Mark Fisher taught a generation to hear the future's disappearance in contemporary music, as if the rhythm of the world was synchronised to the periodic flowering of new creative forms. His diagnosis was devastating: stagnation in music was akin to a venous insufficiency, or worse, some kind of nuclear winter that would ward off the spring for endless generations to come. 

Drawing on musicians like SOPHIE, Arca and Iglooghost, Matt Bluemink declares that the future is not lost; it still speaks to us through music. If Fisher’s Hauntology — dwelling on ghosts of the past — is the logic of depression, then Bluemink’s Anti-Hauntology posits a logic of hope where voices from the future continue to guide the development of the present. 

Island-hopping through Stiegler's philosophy of technics, Simondon's theory of individuation, and the spatial imaginaries of cyberpunk and solarpunk, Bluemink builds a theoretical framework equal to the times — one that takes seriously our capacity to, not only diagnose the world, but remake it. In order to create a new future we must re-imagine our relationship with music, with technology, and with culture. The world of tomorrow is a blank canvas; an open book. New beginnings are always possible. 

Matt Bluemink is the founder and editor-in-chief of Blue Labyrinths online magazine. His research is focused on the relationship between the philosophy of technology, media theory and urbanism. He also writes on contemporary music, literature, and digital culture. 

A new future for Mexico depends upon unearthing what colonialism has buried below the ground.

Situated deep within the ontological turn, this book brings together the philosophical anthropology of Descola and Viveiros de Castro, with the discourse that runs, through Heidegger, towards the world-building technics of Yuk Hui. Through a detailed study of the sacrificial and symbolic practices of Warfare & Hunting, Lou Manuel Arsenault uses these philosophies as tools to uncover a Cosmotechnic of the Aztecs.

In the cosmology and way of life of Nahuatl-speaking populations of the Valley of Mexico and the surrounding regions during the post-classical period, Warfare & Hunting were inseparable ritual practices within which the distinction between beings—Human, Jaguar, and Deer, or Aztec, Mimixcoa, or Mother and Enemy—became blurred. Articulated here as an Aztec Cosmo-Technique of identification, it is argued that these ritual practices enacted a world with its own destiny, one which was trampled by colonial violence. Yet this destiny—Batalla’s “Deep Mexico”—lies dormant, buried underground, buried in the literature, and in the archaeological record; this book works to unearth it.

A rigorous and mind-blowing account of the dynamics of capitalism today through an in-depth exposition of software, speculative finance, and the highest scales of arbitrage.

At the centre of Marek Poliks and Roberto Alonso Trillo's argument is the idea that capital does not belong to humans, it belongs to—and is governed by—itself. Traditional economic theory struggles to keep up with the rapid rate of acceleration, and this book steps in to address this:

"The critical orthodoxy is slowing; it's tired, it's not especially good at the internet, it's probably never manned a Starbucks counter or an anonymous cubicle. Its younger adepts—though digitally native—are chronically underemployed, unavailable, drowning in the student debt (or student opportunity cost) required for entry into the critical apparatus. Few have any patience for the numbing slop-speak of the LinkedIn economy, the libertarian enclave of forex and HFT and memecoins, the quarter-zip depravity of employment at the charnel houses of McKinsey or Deloitte or Accenture, the blazingly random mood-swings of venture capital that lubricate all of the above. This impatience is—in the parlance of the above—a blocker: it means that the critical apparatus underestimates the power of the software economy, struggles to articulate the morphological density of digitally-realized capitalism, comprehensively ignores the functional death of labor, and doesn't understand scale."

Introduction by Charles Mudede.
Afterword by Alex Quicho.

"A masterpiece... Nick Land for adults."
— 0nty

The apocalypse as such will not take place, as it is already finished. Today, there is no longer any difference between the end of the world and capitalism itself: from Britney Spears’ Till the World Ends to The Caretaker’s Everywhere at the End of Time, from Avenger’s Endgame to Donnie Darko, and all the way down to the internet’s Backrooms, the world never ends but is reproduced again and again according to the semio-logic of capital. 

In contrast with Mark Fisher’s Capitalist Realism, Semiotics of the End is a manifesto for the imagination of another relationship with the end. If it is easier to imagine the end of the world than the end of capitalism, as Slavoj Žižek, Fredric Jameson, and Mark Fisher put it, it is only because we have not imagined anything yet. The end is just the beginning.

With an Afterword by Matt Bluemink 

From “abundance” to “zinemaking,” An Encyclopedia of Radical Helping* invites the reader to wander through a collection of interconnected entries on helping and healing by over 200 contributors from the worlds of social work and family therapy; art and design; body work; organizing; and more. Privileging co-construction over diagnosis, wisdom over evidence, collective healing over individual cure–yet always blurring categories and embracing contradictions–this world-making collection reveals a pluriverse of helping practices grounded in love and freedom.

When Ursula K. Le Guin started writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been published before, to consider how her imaginary worlds enable us to re-envision our own.  

Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the Rorschach-like archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and re-made, together. The Word for World brings her maps together with poems, stories, interviews, recipes and essays by contributors from a variety of perspectives to enquire into the relationship between worlds and how they are represented and imagined. 

Contributors: Federico Campagna, Theo Downes-Le Guin, Daniel Heath Justice, Bhanu Kapil, Canisia Lubrin, Una McCormack, David Naimon, Nisha Ramayya, Shoshone Collective, Standard Deviation, Marilyn Strathern. 

Co-published by Spiral House and AA Publications to coincide with an exhibition of Ursula K. Le Guin’s maps at the Architectural Association, London, opening on 10 October 2025.

”One of the literary greats of the 20th century.” Margaret Atwood

An Expert Array of Talks & Essays by One of Our Greatest Living Poets.

One of our greatest living poets, Alice Notley, the author of more than 40 books of poetry, has delivered an expert array of talks and essays over the last three decades.

The publication offers a significant contribution to literature, reimagining the possibilities of writing in our time and the complicated business of how and why writers devote their lives to their craft. Whether she is writing about other poets—Ed Dorn, Allen Ginsberg, Homer, bpNichol, Douglas Oliver, or William Carlos Williams—noir fiction, the First Gulf War, dreams and what they're for, or giving us insight into her own work, Notley's observations are original, sobering, and always memorable. This collection often eschews the typical style of essay or lecture, resisting any categorization, and is consciously disobedient to academic structures in form. The results are thrilling new modes of thinking that may change the ways we read and write.

Art et production de Boris Arvatov fait partie des classiques oubliés des avant-gardes qui se sont épanouies durant la Révolution russe. Publié à Moscou en 1926, il vient porter le fer dans les débats qui agitent l’école constructiviste : que doit être le statut de l’art après la révolution, ses liens avec les techniques industrielles de reproduction, avec la critique de la vie quotidienne, comment doit-il entrer dans l’usine ? Autant d’interrogations radicales, témoignages d’une séquence politico-sociale bouillonnante. Une nouvelle conception de l’art émerge, qui laissera une empreinte indélibile sur une tradition de critiques matérialistes de la culture, de Walter Benjamin à Peter Bürger, en passant par Fredric Jameson, celle qui posera la question de l’articulation entre pratique artistique et logiques propres à la sphère de la production. Un document exceptionnel enrichi d’illustrations, paraissant en français pour la première fois, une porte prviliégiée sur un moment-clé de la modernité exthétique du XXe siècle. 

Boris Arvatov (1896–1940) est un artiste et critique d’art russe. Il est notamment connu comme théoricien du productivisme, un mouvement d’avant-garde post-révolutionnaire lié au constructivisme. 

An artistic exploration of the political and emotional stakes of translation in the context of asylum law, through the lens of rarely heard testimonies: those of interpreters.

The Interpreter Dis/appears stems from an investigation conducted between 2019 and 2023 by curator, editor, and translator Virginie Bobin, focusing on both professional and volunteer interpreters and translators, as well as representatives from the state and organizations working with exiled individuals navigating asylum application procedures in France. By redirecting attention to the voices of interpreters—rarely visible figures in this ecosystem—the project delves into the ambiguous role of translation at the intersection of those who govern and those governed by asylum law. Within such a controlled environment, can the act of translation, with all its complexities, still express fleeting gestures of solidarity or even resistance? Through the exchanges prompted by these questions, the book seeks to reframe the prevailing public and political discourse on asylum, harnessing the embodied experiences of a small group of interpreters as an alternative lens to reveal the underlying power dynamics at play. It also probes the ethical and political potential of translation. The Interpreter Dis/appears unfolds across a variety of theatrical, artistic, and theoretical writing, alongside insightful contributions from artists and researchers who open up different perspectives for understanding and activating these issues.

The reader series Scriptings: Political Scenarios, edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Contributions by Alix Eynaudi, Vir Andres Hera, Mihret Kebede, Franck Leibovici, Serena Lee, Marianne Mispelaëre, Eliana Otta, Rester. Étranger, Olia Sosnovskaya, Myriam Suchet, TOGETHER UNTIL _ __ (what)* ?