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 drawing parallels with Fisher's Capitalist Realism, The Memeing of Mark Fisher aims to render the Frankfurt School as an incisive theoretical toolbox for the post-Covid digital age. Taking in the phenomena of QAnon, twitch streaming, and memes it argues that the dichotomy between culture and political praxis is a false one. Finally, as more people have access to the means for theoretical and cultural broadcasting, it is urged that the online left uses that access to build a real life cultural and political movement.

Taking in an array of cultural references from the contemporary art world, to cat memes, Stranger Things, the Kardashian-Jenners, Mad Men, Run the Jewels, and video gaming, Can the Left Learn to Meme? argues that there is positivity in millennial-era cultural production. Utilising Adorno’s unswerving yet understated hope in spite of the odds, Mike Watson embraces the abstraction of the new media landscape as millennials refuse to surrender to cynicism, by out-weirding even the world at large. They pose a radical alternative to the right wing approach of Steve Bannon and the conservative psychology of Jordan Peterson. Here, the cultural elitism of the art world is contrasted with the anything-goes approach of millennial culture. The left avant-garde dream of an art-for-all is with us, though you won't find it in museums. It is time the left learned to meme, challenging conventions along the way.

An analysis of the ways in which capitalism has presented itself as the only realistic political-economic system.

From the creator of the Cuck Philosophy YouTube channel comes this timely and explosive re-evaluation of Marx and Nietzsche for the 21st-century left. Modernity has been defined by humanity's capacity for self-destruction. Over the last century, the means which threaten not only life's joy but its very existence have only multiplied. At the same time, as a new wave of nationalism and right-wing politics spreads across the world, fewer and fewer people are being convinced that socialism could improve their everyday lives, let alone save us from our own destruction. In this timely and explosive book, philosopher and YouTuber Jonas Čeika (aka Cuck Philosophy) re-invigorates socialism for the twenty-first century. Leaving behind its past associations with bureaucracy and state tyranny, and it's lifeless and drab theoretical accounts, Čeika instead uses the works of Marx and Nietzsche to reconnect socialism with its human element, presenting it as something not only affecting, but created by living, breathing, suffering human individuals. At a time when ecological collapse is hurtling towards us, and capitalism offers no solution except more growth and exploitation, How to Philosophise with a Hammer and Sickle shows us the way forward to a socialism grounded in human experience and accessible to all.

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

How memetic media—aggregate texts that are collectively created, circulated, and transformed—become a part of public conversations that shape broader cultural debates. Internet memes—digital snippets that can make a joke, make a point, or make a connection—are now a lingua franca of online life. They are collectively created, circulated, and transformed by countless users across vast networks. Most of us have seen the cat playing the piano, Kanye interrupting, Kanye interrupting the cat playing the piano. In The World Made Meme, Ryan Milner argues that memes, and the memetic process, are shaping public conversation. It's hard to imagine a major pop cultural or political moment that doesn't generate a constellation of memetic texts. Memetic media, Milner writes, offer participation by reappropriation, balancing the familiar and the foreign as new iterations intertwine with established ideas. New commentary is crafted by the mediated circulation and transformation of old ideas. Through memetic media, small strands weave together big conversations. Milner considers the formal and social dimensions of memetic media, and outlines five basic logics that structure them: multimodality, reappropriation, resonance, collectivism, and spread. He examines how memetic media both empower and exclude during public conversations, exploring the potential for public voice despite everyday antagonisms. Milner argues that memetic media enable the participation of many voices even in the midst of persistent inequality. This new kind of participatory conversation, he contends, complicates the traditional culture industries. When age-old gatekeepers intertwine with new ways of sharing information, the relationship between collective participation and individual expression becomes ambivalent. For better or worse—and Milner offers examples of both—memetic media have changed the nature of public conversations.

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...