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K-Punk
Edited by Darren Ambrose and with a foreword by Simon Reynolds, this comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 Ð 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism for numerous websites and magazines; his final unfinished introduction to his planned work on ÒAcid CommunismÓ; and a number of important interviews from the last decade.
Ghosts of My Life
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.
Capitalist Realism
An analysis of the ways in which capitalism has presented itself as the only realistic political-economic system.
The Memeing of Mark Fisher
The Frankfurt School meets Fisher in this critique of capitalism incorporating memes, mental illness and psychedelia into a proposed counterculture. Spring 2020 to 2021 was the year that did not take place. We witnessed a depression, not economically speaking, but in the psychological sense: A clinical depression of and by society itself. This depression was brought about not just by Covid isolation, but by the digital economy, fueled by social media and the meme. In the aftermath, this book revisits the main Frankfurt School theorists, Adorno, Horkheimer, Benjamin and Marcuse, who worked in the shadow of World War Two, during the rise of the culture industry. In examining their thoughts and...
Postcapitalist Desire
A collection of transcripts from Mark Fisher's final series of lectures at Goldsmiths, University of London, in late 2016. Edited with an introduction by Matt Colquhoun, this collection of lecture notes and transcriptions reveals acclaimed writer and blogger Mark Fisher in his element -- the classroom -- outlining a project that Fisher's death left so bittersweetly unfinished. Beginning with that most fundamental of questions -- "Do we really want what we say we want?" -- Fisher explores the relationship between desire and capitalism, and wonders what new forms of desire we might still excavate from the past, present, and future. From the emergence and failure of the counterculture in the 1970s to the continued development of his left-accelerationist line of thinking, this volume charts a tragically interrupted course for thinking about the raising of a new kind of consciousness, and the cultural and political implications of doing so. For Fisher, this process of consciousness raising was always, fundamentally, psychedelic -- just not in the way that we might think...
Acid Communism
A short zine collecting an introduction to the concept by Matt Colquhoun that appeared in 'krisis journal for contemporary philosophy Issue 2, 2018: Marx from the Margins' and the unfinished introduction to the unfinished book on Acid Communism that Mark Fisher was working on before his death in 2017. "In this way ‘Acid’ is desire, as corrosive and denaturalising multiplicity, flowing through the multiplicities of communism itself to create alinguistic feedback loops; an ideological accelerator through which the new and previously unknown might be found in the politics we mistakenly think we already know, reinstantiating a politics to come." —Matt Colquhoun
Capitalist Realism
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, films, fiction, work and education, it argues that capitalist realism colours all areas of contemporary experience. But it will also show that, because of a number of inconsistencies and glitches internal to the capitalist reality program capitalism in fact is anything but realistic.
The Weird and the Eerie
A noted cultural critic unearths the weird, the eerie, and the horrific in 20th-century culture through a wide range of literature, film, and music references—from H.P. Lovecraft and Daphne Du Maurier to Stanley Kubrick and Christopher Nolan. What exactly are the Weird and the Eerie? Two closely related but distinct modes, and each possesses its own distinct properties. Both have often been associated with Horror, but this genre alone does not fully encapsulate the pull of the outside and the unknown. In several essays, Mark Fisher argues that a proper understanding of the human condition requires examination of transitory concepts such as the Weird and the Eerie. Featuring discussion of the works of: H. P. Lovecraft, H. G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christopher Nolan.
Mark Fisher
This architectural monograph features the work of Mark Fisher who has spent the majority of his life designing stage sets for rich and famous rock groups. The work is supported by informative text as well as detailed working drawings.
Egress
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 of weird fiction—Egress consider the politics of death and community in a way that is indebted to Fisher’s own forms of cultural criticism, ruminating on personal experience in the hope of making it productively impersonal.
