{"title":"Signature","description":null,"products":[{"product_id":"exocapitalism","title":"Exocapitalism (2025)","description":"\u003cp\u003e\u003cspan class=\"caption\"\u003e\u003cmeta charset=\"utf-8\"\u003eUNITED STATES CUSTOMERS—This book, Exocapitalism, is available within the USA from Fangtooth Books, a webstore based in Seattle. You can get this book, along with Empires Over Skin, for 9$ delivery throughout the USA! \u003ca href=\"https:\/\/www.fangtoothbooks.com\/becoming-press\"\u003eVisit the store!\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caption\"\u003eThis book is provocative because it is the proverbial elephant in the system, but it is nonetheless rigorous, and written in good spirit—this isn’t a downer, this is cleaning up after a bender, after a 500-year drug-accelerated romance with a creature that counts its age in millennia. So what is left in this wasteland? Well, Arbitrage for one; other monumental processes like Lifting, Holding, Dragging and Folding roam around above our heads.\u003cbr\u003e\u003cbr\u003eThere is a touch of destiny with this one. We have really pushed it as far as we can, and as we stay up all night trying to put the final touches on everything, the reverberations are starting to return. It’s been called, provocative, emancipatory, cutting-edge, and even, in some places, a bit caustic. Perhaps it is provocative because it begins to depart from Marxism as-we-know-it, and, with all the relevant necessary reverences applied, it attempts, dare I say, to step forward from the discourse of labour \u0026amp; production—not that what follows is somehow simpler, because it’s not. Yet as the authors contend, the world has already moved on, and capital, that same old capital, continues to do what it has always done, at myriad different scales, and in myriad worlds. Capital may well have already broken free of us, and so where exactly does that leave you, homocapitalus?\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caption\"\u003eIt would be in-keeping with the style of Charles Mudede to raise the question of whether we are on the cusp of a second ejection from Eden, and that means that whether we are ready or not, we have to step through the looking glass into a new conversation. That is what the authors wish to do here, to push the conversation to a new position, a position which understands DoorDash drivers, MMORPG gold farmers, and remote workers, accounts for AWS architecture, for memecoins and blockchain, for BlackRock, for the Internet (but for reals this time), for High-Frequency Trading and the LinkedIn economy, for Scale, for Airplane Miles and Club card points, and for ADHD \u0026amp; Adderall.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caption\"\u003eThese two researchers have an enormous insight into contemporary economics, technology and finance, and yet they write as musicians, as the poetic theorists of antiquity, which, for us, makes this text epic. With Charles Mudede and Alex Quicho holding Exocapitalism down, it looks as though Marek Poliks \u0026amp; Roberto Alonso Trillo are here to stay.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAbout the authors:\u003c\/b\u003e\u003cbr\u003eMarek Poliks is a researcher in the philosophy of technology, especially with respect to deep learning. He’s based in Minneapolis, Minnesota. Marek and his primary research partner Roberto Alonso Trillo (HKBU) have been working to situate deep learning tools as endosymbiotic reproductive infrastructure (inorganic vehicles through which biological, epistemological, and social information is encoded, subject to contingent processes, and transmitted).\u003cbr\u003e\u003cbr\u003eRoberto Alonso Trillo is a theorist and artist whose work spans cultural theory, media philosophy, and experimental sound. Based in Hong Kong, his research engages the aesthetic and political dimensions of machine learning, with particular attention to infrastructural critique and performativity. In ongoing collaboration with Marek Poliks, he investigates AI theory and speculative design as part of a broader inquiry into automation and cultural production. His interdisciplinary practice extends into sound art, post-instrumental music, and critical pedagogy.  \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eExocapitalism: economies with absolutely no limits (2025)\u003c\/b\u003e\u003cbr\u003e\u003cstrong\u003eAuthor(s): \u003c\/strong\u003eMarek Poliks \u0026amp; Roberto Alonso Trillo\u003cbr\u003e\u003cstrong\u003eForeword: \u003c\/strong\u003eCharles Mudede\u003cbr\u003e\u003cstrong\u003eAfterword: \u003c\/strong\u003eAlex Quicho\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eIllustrations:\u003c\/strong\u003e Avocado Ibuprofen\u003cbr\u003e\u003cstrong\u003eLayouts \u0026amp; Design:\u003c\/strong\u003e Becoming\u003cbr\u003e                                       (Claire Elise,\u003cbr\u003e                                        \u0026amp; Polymnia)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 1\u003csup\u003est\u003c\/sup\u003e\u003cbr\u003e\u003cstrong\u003eDate: \u003c\/strong\u003eAugust 2025\u003cbr\u003e\u003cstrong\u003eCat\u003cu\u003e\u003csup\u003eNO\u003c\/sup\u003e\u003c\/u\u003e: \u003c\/strong\u003e(BECOMING)010A\u003cbr\u003e\u003cstrong\u003eISBN:\u003c\/strong\u003e 978-9925-8156-7-8 (Print)\u003cbr\u003e\u003cstrong\u003eLanguage: \u003c\/strong\u003eEnglish\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003eSoftcover\u003cbr\u003e\u003cstrong\u003eBinding:\u003c\/strong\u003e Perfect Bound\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 13cm x 19cm\u003cbr\u003e\u003cstrong\u003ePages:\u003c\/strong\u003e 218\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"caption\"\u003e\u003cb\u003eTo be cited as:\u003c\/b\u003e \u003cbr\u003ePoliks, M., Trillo, R.A.(2025) Exocapitalism: Economies with absolutely no limits. Berlin\/Nicosia: Becoming. 978-9925-8156-7-8.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"caption\"\u003e\u003c\/span\u003e\u003cspan class=\"caption\"\u003e\u003cb\u003ePeer reviews:\u003c\/b\u003e\u003cbr\u003e\"\u003ci\u003eExocapitalism\u003c\/i\u003e offers an alternative to Nick Land that is desperately needed—not because it is more sober (it isn't), but because it is \u003ci\u003eless horny.\u003c\/i\u003e The sexy AI alien of technocapital is revealed to be nothing more than a Rule 34 drawing of slime mold, or perhaps a kind of yeast, that meek inheritor of the Earth leaving all of humanity \u003c\/span\u003e\u003cspan class=\"caption\"\u003ebehind.\" — New Models (Lil Internet \u0026amp; Caroline Busta)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e“The \u003ci\u003ehuman-within-human \u003c\/i\u003ecould be framed as the psychotic, because they are precisely the one who lives outside of reality, because of the foreclosure of the Other and so forth. Normally, when we are talking about \u003ci\u003ethe human\u003c\/i\u003e, we are talking about \u003ci\u003eneurotic subjectivity\u003c\/i\u003e, which comes through repression, which is simply a way to manage the unbearable real, and so the psychotic is someone who tries to endure this unbearable real on their own. Through science we are reminded that the real, without mediation, can be endured; we do not need extra structures for the real to be \u003ci\u003econsistent\u003c\/i\u003e. Through the psychotic, we can prove that existence without this external mediation is possible. Exocapitalism works to confirm this on the economical, computational and the transcendental level, as the first theory of how unconstrained capitalism can be \u003ci\u003econsistent\u003c\/i\u003e.”\u003cspan class=\"caption\"\u003e – Maks Valenčič\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caption\"\u003e“\u003c\/span\u003e\u003cspan class=\"caption\"\u003eYou will never look at Salesforce the same way... It is one thing to realize that one is a serf for a techno-feudalist master; it is another thing to realize that one is a vavasour to a piece of digital land that is no longer planar but scalar, dragged only in order to be lifted once again. There is no masterdom at the scale of capital: only an algorithm all unto itself.” — Alessandro Sbordoni\u003cbr\u003e\u003cbr\u003e“This is not an argument for a new phase of capitalism, but rather a cosmological, retroactive take on the continuity of capital as an inhuman algorithm modelled on finance and software rather than factory and labor, manifesting in the contemporary topology of the spongy and blob-like digital business formations—this is bound to be controversial, but it is worth contending with. So love it or hate it, \u003ci\u003eExocapitalism\u003c\/i\u003e is original, enlightening and infuriating: a book to be reckoned with.” — Tziana Terranova\u003cbr\u003e\u003cbr\u003e“Not even a thing, capitalism is mutable; it is only its mutants. It's whatever x-capitalism works right now. So let x = neoliberal \/ racial \/ industrial \/ platform \/ autocratic \/ financial \/ green \/ techno \/ bio \/ etc. as you prefer — even, now, on its way to the another yet-more-whacked variant, let x=X too. Concatenated, meshed without term or unity, capitalism is only beside itself: an exocapitalism, as Marek Poliks \u0026amp; Roberto Alonso Trillo succinctly call it. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caption\"\u003eSure, human labour has been a pit-stop in this prolific adaptation but, as Poliks and Trillo contend, that's only a domestication of exocapitalism, handy for a little moment in its history—and of course for the self-regard of its benighted (and, honestly, now tired) critics. Detached from this stabilising narcissism, Exocapitalism does us the immense favour of staying true to its anti-object: thematically promiscuous, scale agnostic, attentive to its n-tupled deleteriousness, Poliks and Trillo advance a latency theory of accumulation by which, as they put it, capitalism gets to be done on anything. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"caption\"\u003eYou won't get an easy out—you already have the dignity of human labour for that—but you will get to see some shapes of what mutability looks like when it's optimised for accumulation by ubiquitous volatilisation.” — Suhail Malik\u003cbr\u003e\u003cbr\u003e\"From the chain of signifiers—platform extractivism, green deal, crypto, and techno-feudalism—there is no exit, but exo-; your cosmo-finance model for the precarious. Once capital lost its fixed references, new speculative worlds open up, each with their own logic. There may be infinite complexity, yet, in the current geo-political whirlwind it all comes down to a reduction of flows into a simple economic model, and Poliks \u0026amp; Trillo navigate this abstraction ladder in an elegant way. Revolving around software and data-centres, capitalism is a germ which produces worlds.\" — Geert Lovink\u003cbr\u003e\u003cbr\u003e\"A masterpiece... Nick Land for adults.” — \u003ci\u003e0nty\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Becoming","offers":[{"title":"Print","offer_id":60874065969486,"sku":"10A-1","price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Digital","offer_id":60874066002254,"sku":"10A-2","price":5.0,"currency_code":"EUR","in_stock":true},{"title":"Print \u0026 Digital","offer_id":60874066035022,"sku":"10A-3","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0773\/0328\/4046\/files\/Exocapitalism_FRONT_square_clay_3000x3000_1a8b990b-914f-4fbd-91e3-20e8415c9fdf.png?v=1760722046"},{"product_id":"unconscious-television","title":"Unconscious\/Television (2025)","description":"\u003cp\u003eThe Unconscious is Semiotic, not Linguistic, and it only jumps out when you read between the lines.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis book stems from the author’s discontents with Lacanian Psychoanalysis, by drawing from psychoanalysts like Félix Guattari and Sándor Ferenczi, as well as authors like Viveiro DeCastro, and Thomas Lamarre, to whom the book is dedicated.\u003cbr\u003e\u003cbr\u003eAs Lucas Ferraço Nassif elaborates on the possibility of a multiplicitous Unconscious, or rather, a mass of many Unconscious(es), he attempts here to fold the book itself into the text, to make the organisation of the physical book itself a part of the elaboration.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis 2nd Edition comes with a few editorial changes, and a slightly different design approach. It is being presented now with a suite of endorsements from a group of exciting writers and researchers, including Persis Bekkering, Thomas Lamarre, and Yuchen Li. Much of the first edition is preserved, and an extra text has been added, written by the editor as a part of the lecture at Ifilnova. There has been a focus on making this book more accessible, so we have reworked the design of this edition in Black \u0026amp; White.\u003cbr\u003e\u003cbr\u003eThe Unconscious is Semiotic, not Linguistic, and it only jumps out when you read between the lines. Do you remember, back in 1997, when 600 kids had epileptic shocks whilst watching Television—the Pokémon Shock? This might sound strange at first, but Lucas Ferraço Nassif theorises that, contrary to the claim that this was caused by oscillations of blue and red light alone, it could have been caused by microperceptions and intensities within narrative. As Porygon takes Ash and friends into the digital world, the immanence of unconscious assemblages drags viewers in, too.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSuch is the haptic and imagetic nature of this book. Using several design and editorial strategies, and a particular mode of writing, the author attempts to elaborate on their work on the Unconscious by recreating a similar possibility—where book, language and reader collapse into a composition, an assemblage or a haecceity. Unconsciousness operates as the multiplanar compositions of Japanese Anime do, so this book has been organized accordingly—different texts, different temporalities, different voices—and like the Japanese concept of Ma (negative space), or even like CoreCore, something jumps out of the breaks, the gaps in between the layers, and therein lies, for this book, a departure point for elaborating on not just one, but many, Unconscious(es). \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAbout the author\u003c\/b\u003e\u003cbr\u003eLucas Ferraço Nassif holds a Ph.D. in Literature from the Pontifical Catholic University of Rio de Janeiro. He is a researcher in the ERC project FILM AND DEATH and an integrated member of CineLab - Laboratory of Cinema and Philosophy, part of the NOVA Institute of Philosophy, and a member of the Portuguese Center of Psychoanalysis. Director and editor of the films Reinforced Concrete, Being Boring, and Unfamiliar Ceiling\/The Beast; and author of the book Missing Links, published by Barakunan, and awarded by the Association of Moving Image Researchers [AIM] in Portugal as the best monographic book of 2023. Lucas Ferraço Nassif's investigations happen between psychoanalysis and schizoanalysis, operating with the clinical approach to the unconscious that aims at the entanglement of art and the production of thought.\u003cbr\u003e\u003cbr\u003e(The author was supported by the European Research Council Consolidator Grant FILM AND DEATH number 101088956). \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eUnconscious\/Television (2025)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAuthor: Lucas Ferraço Nassif\u003cbr\u003e\u003ci\u003e\u003c\/i\u003eEdit: \u003ci\u003e0nty\u003c\/i\u003e\u003cbr\u003eEdition: 2\u003csup\u003end\u003c\/sup\u003e\u003cbr\u003eDate: November 2025\u003cbr\u003eCat\u003cu\u003e\u003csup\u003eNO\u003c\/sup\u003e\u003c\/u\u003e: (becoming)08B\u003cbr\u003eISBN: 978-9925-647-07-1 (Print)\u003cbr\u003eLanguage: English\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eFormat: Softcover\u003cbr\u003eBinding: Perfect Bound\u003cbr\u003eDimensions: 14.8cm x 21cm\u003cbr\u003ePages: 230\u003cbr\u003eUmschlag: Bilderdruck Matt 300g\/m\u003csup\u003e2\u003c\/sup\u003e\u003cbr\u003eInhalt: Munken White Vol 1.75 80g\/m\u003csup\u003e2\u003c\/sup\u003e\u003cbr\u003e\u003cbr\u003eLayouts \u0026amp; Design by Becoming\u003cbr\u003e                                               (Claire Elise,\u003cbr\u003e                                               \u0026amp; Polymnia)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"caption\"\u003e\u003cb\u003eTo be cited as:\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"caption\"\u003eNassif, L. F. (2025) Unconscious\/Television. Berlin\/Nicosia: Becoming. 978-9925-647-07-1.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEndorsements\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe new book of Lucas Ferraço Nassif about the Becomings of Unconscious Television will certainly be a fundamental reference for several fields of knowledge – from anime and media studies to literature, visual arts, psychoanalysis and even fashion. It is probably one of the most original and audacious narratives written in recent years. The organization was conceived in partnership with the editorial team, and the result is a dynamic game of metamorphoses between content and form, without the traditional dichotomies. During my reading, I thought about a book becoming a film (or anime), a visual narrative becoming gesture, and all these images becoming an internal musical composition. The dialogues with Thomas Lamarre, Sandor Ferenczi and, of course, Gilles Deleuze and Félix Guattari reverberate in the flesh. \u003cbr\u003e            In the first pages, Nassif quotes Isabel Ghirardi: “language is secretion”. I immediately thought about the butoh dancer Hijikata Tatsumi, who used to say: “expression is secretion”. Let’s keep this in mind during our reading. This will be a powerful strategy to make words, feelings and images flow through our bodies reinventing ourselves.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— Christine Greiner\u003ci\u003e, \u003cbr\u003e\u003c\/i\u003eChair of the Department of Art São Paolo Pontifical Catholic University\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003cbr\u003eThis book is one of a kind: a beneficial bomb! Lucas Ferraço Nassif is not content with destroying a certain traditional brand of psychoanalitical criticism, he offers bright new vistas: updating Lacanian Theory to new \u003ci\u003emediaphilosophical\u003c\/i\u003e levels, infusing it with a pinch of deleuzoguattarian schizoanalysis, following the logic of the dream, waves of productive chaos crushing against oedipal academy. The wonderful design of the book is not a gimmick: it’s a generous eye-candy that nourishes and backs up the book‘s conceptual force. They made a dream-team, and this fractal structure really invites readers to grow their own crystals at each and every point … a remarkable achievement!\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— Bernd Herzogenrath, \u003cbr\u003eProfessor at Goethe University Frankfurt\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003cbr\u003eHow to imagine a psychoanalysis that dethrones the symbolic order? Jacques Lacan, but make it process philosophy. Schizoanalysis, but make it multinaturalist. Theory blossomed during the heydays of television and this book somehow reads like an artefact from those bygone days, but written by someone plugged into a terminally online unconscious – an unconscious saturated with moving images (on the small screen), not written like a language. I have to be real: Unconscious\/Television puzzled me. I don't know if it is intended to be understood on the level of meaning or content. It is composed to be experienced. Words behaving like animated images, written in a metonymic chain of jump cuts. That makes Lucas Ferraço Nassif's work really exciting, and proves Becoming Press once more as the most forward thinking publisher of today. \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— Persis Bekkering, \u003cbr\u003eWriter\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eUnconscious\/Television\u003c\/i\u003e is as tenacious as it is audacious in its bid to trace the electric torsions of anime.  Lucas Ferraço Nassif provides a series of brilliant demonstrations, remonstrations, and ultimately monstrations that what is (temporarily) excluded from attention is the very event, the whole show, the stuff of television. \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— Thomas Lamarre, \u003cbr\u003eProfessor at University of Chicago\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cbr\u003eDr Lucas Ferraço Nassif’s writing confronts psychoanalysis’ weakness in understanding the Real. In facing the TV images, Dr Lucas Ferraço Nassif does not repeat psychoanalysis’ compulsion to know everything, rather, he finds a position of dwelling between the known and the unknown – staying true to the enigmas and writing about them without the symbolic’s colonization. This is exactly how we want to get in touch with the Real – not only can we have a close reading of late Lacan and Deleuzoguattarian schizoanalysis, but we relive it, dream within it, and get lost in it through the texts, which are mapped out resembling the maze-like unconscious. \u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— Yuchen Li, \u003cbr\u003ePsychoanalyst and Researcher\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp class=\"p1\"\u003eUnconscious\/Television reads as if it were carved directly into matter: on skin, on stone, and on the screen itself, piercing its surface. This is an image that Lucas Ferraço retrieves from Thomas Lamarre: in anime, perspective perforates the flat screen. Unlike a long-standing tradition that frames images as dreams, hallucinations, or mental projections—from Münsterberg to Schéfer, from Metz to Mitry—ethereal and ghostly realities, here images have weight; they contaminate, poison; television occupies a physical space, displacing bodies, reshaping the landscape, and making us ill. The act of reading it is also experienced with discomfort. One must allow oneself to be torn apart by the book—and the book, too, is torn, fragmented, reordered; at times the text is missing as air is missing.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— David Ferragut, \u003cbr\u003eResearcher\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e\u003cbr\u003e\u003cbr\u003eIn this book, Lucas Ferraço Nassif’s written gestures carry forces that fold upon themselves, producing something unlike anything seen before. Something begins to vibrate here — a connection with the multiplicity of cinemas, anime, psychoanalysis, and schizoanalysis. This book is composed of zones of proximity, of productive alliances for a war machine. A basic lesson of this text is to look toward the minor, to play with the becomings of the unconscious; it is a text for new allies, far from established chapels.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: right;\"\u003e— Anderson Santos,\u003cbr\u003ePsychoanalyst and Researcher\u003c\/div\u003e","brand":"Becoming","offers":[{"title":"Print","offer_id":59674053738830,"sku":"08B-1","price":21.0,"currency_code":"EUR","in_stock":true},{"title":"Digital","offer_id":59674053804366,"sku":"08B-3","price":8.0,"currency_code":"EUR","in_stock":true},{"title":"Print \u0026 Digital","offer_id":60874036740430,"sku":"8B-3","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0773\/0328\/4046\/files\/Unconscious_Television__2nd_Edition_square_clay_3000x3000_9041ec36-1147-4174-8456-0b7cdce6ac4b.png?v=1771861492"},{"product_id":"where-does-a-body-begin","title":"Where Does A Body Begin? (2025)","description":"\u003cp\u003eIn this book, we don’t \u003cem\u003edo\u003c\/em\u003e biology, or fund it, or research it, or practice it; in this book, we \u003cem\u003eare\u003c\/em\u003e biology.\u003c\/p\u003e\n\u003cp\u003eWhile presented as a contiguous work, the book is formed of different essays that have been dissected, recomposed with artificial connective tissue. The result lies somewhere between the rhizomatic continuity of a Body-without-Organs, and the disjointed assemblage of roadkill; either way, the question of where to even begin remains the same.\u003c\/p\u003e\n\u003cp\u003eThese essays each grow out of a particular resentment that developed through years of experience as a working-student of biology, but the task of the book was to transform this into something productive, something that sticks granular propositions into Biology like acupuncture needles. Inherent sexism within Biological research is, after all, not entirely disconnected to Pharmaceutical giants flooding the streets with opiates—and it is simply a writer’s hope that some well positioned words can remind enough people of how its all connected.\u003c\/p\u003e\n\u003cp\u003eIn what could be perceived as a philosophical turn, the importance of talking about science, as much as doing it, is re-entering the popular scientific consciousness, and it is high time, too. What was already getting bad under Biden, became catastrophic under Trump, and the infiltration into public research by private institutions and capitalist enterprises, which this book highlights, is proving dire. The capitalisation of all things bio, whether -yoghurt, -metric data or -logical institutions, is necrotic—MeltdownYourBooks didn’t flinch, they just grabbed the scalpel, dowsed the flesh in ethanol, and asked the question we all forget needs answering: where first, Doc?\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003eAbout the author:\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\"Meltdown Your Books (M.Y.B.), the pen name, was made as a portmanteau of the seminal essay Meltdown by Nick Land, and the landmark film Throw Away Your Books, Rally in the Streets by Shuji Terayama. I chose the name, almost 3 years ago now, to reflect the political and digital black hole I saw hovering at the edge of contemporary media experience, and to present my work without the muddy veneer of personal identity. It has remained, since its inception, an anonymous project in only the loosest terms. The dedicated could always find my real identity, and some have, and so its anonymous character existed primarily as an element of presentation. Its anonymity existed to emphasize its deindividuated character. The things I discuss and emphasize under the M.Y.B. label are not items with definitive characteristics, they are collective experiences. M.Y.B. is something I cherish beyond self.\"\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003e\u003cbr\u003eWhere does a body begin? \u003cbr\u003eBiology’s function in contemporary capitalism (2025)\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cstrong\u003eAuthor: \u003c\/strong\u003eMeltdown Your Books (M.Y.B.)\u003cbr\u003e\u003cstrong\u003eEditor: \u003c\/strong\u003eNicholas E. 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Berlin\/Nicosia: Becoming. 978-9925-647-01-9.\u003c\/span\u003e\u003c\/p\u003e","brand":"Becoming","offers":[{"title":"Print","offer_id":60874028056910,"sku":"3C-1","price":13.0,"currency_code":"EUR","in_stock":true},{"title":"Digital","offer_id":60874028089678,"sku":"3C-2","price":5.0,"currency_code":"EUR","in_stock":true},{"title":"Print \u0026 Digital","offer_id":60874028122446,"sku":"3C-3","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0773\/0328\/4046\/files\/Wheredoesabodybegin_FRONT_square_clay_3000x3000_5e9e7f41-70f5-4efb-bf63-4f188d76f847.png?v=1760737669"},{"product_id":"semiotics-of-the-end","title":"Semiotics of the End (2025)","description":"\u003ch4 style=\"padding-left: 40px;\"\u003e“To quote Alessandro Sbordoni: ‘as the end gets nearer, more is yet to come'. 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If there is an end, it is also a beginning, which means the future is still up for grabs. \u003cbr\u003e        This book contains thirteen essays reflecting on capital’s relationship with its own end, from cultural analyses of Britney Spears, Donnie Darko or the Internet’s Backrooms, to strategic theories that frame culture as a series of weapons to be used to subvert and change the cultural hegemony of our time, and ward off the ghosts of the past.”\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHaving been originally published, in its first edition, by Institute of Network Cultures in Amsterdam, Becoming Press has prepared, at the author’s request, a second edition of this work, which includes an afterwork written by Matt Bluemink, to whom we attribute the term “anti-hauntology”. 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If Fisher’s Hauntology — dwelling on ghosts of the past — is the logic of depression, then Bluemink’s \u003ci\u003eAnti-Hauntology\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eposits a logic of hope where voices from the future continue to guide the development of the\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003epresent\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003eIsland-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\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eour\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003ecapacity to, not only diagnose the world, but remake it.\u003cspan\u003e 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eENDORSEMENTS\u003cbr\u003e\u003c\/strong\u003e\"This theory toolkit is driven by the desire to create new beginnings, which arise not out of the ashes of the old. The future emerges elsewhere, and there’s an urgent need to overcome the organized malaise. According to Bluemink, music can pull us out of this rabbit hole, and drag us out of platform misery. Our common task will be to design these future-seducing figures and sounds that appear out of nowhere and make the world dance again.\" \u003cstrong\u003e— Geert Lovink\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"For those seeking to reclaim the future, Matt Bluemink’s book is a welcome read. For the future is cluttered with debris and overblown images that AIs produce to block our view: this is the cyber-trap that The Future is not Lost disarms. And it was time to deactivate the cyber-gimmick we’ve been dragging around since the 1980s — since the liberating cyborg, the political critique of cybernetics, and cyber-gothic. No, accelerationism, its melancholic double, and its fascist flip side are not inevitable. For the way out is already here, in the music (of SOPHIE, Arca, Iglooghost), in the architecture of connected islands, in autonomous cosmologies, in the atmosphere of solar spirits.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA beacon of hope that never forgets political critique, The Future is not Lost draws on philosophers (Gilles Deleuze, Peter Sloterdijk, Gilbert Simondon, Yuk Hui) to prevent us from succumbing to the charms of spectres. Anti-hauntological is the solarpunk world whose warmth Mark Fisher never felt. Permeated by cosmopunk vectors, the future awaits only us to transform Earth into a fantastical planet.\" \u003cstrong\u003e— Frédéric Neyrat\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eBIO\u003cbr\u003e\u003c\/strong\u003eMatt 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. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eDETAILS\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Matt Bluemink\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eEditor:\u003c\/strong\u003e Alessandro Sbordoni\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e June 2026\u003cbr\u003e\u003cstrong\u003eEdition: \u003c\/strong\u003e1st\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cstrong\u003eISBN: \u003c\/strong\u003e978-9925-647-13-2 (print)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 121 x 191 mm\u003cbr\u003e\u003cstrong\u003ePages: \u003c\/strong\u003e192\u003cbr\u003e\u003cstrong\u003ePrint run:\u003c\/strong\u003e 1000\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Becoming","offers":[{"title":"Print","offer_id":60873970712910,"sku":"17A-1","price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Digital","offer_id":60873970745678,"sku":"17A-2","price":5.0,"currency_code":"EUR","in_stock":true},{"title":"Print \u0026 Digital","offer_id":60873970778446,"sku":"17A-3","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0773\/0328\/4046\/files\/TFINLFRONT.png?v=1781099864"},{"product_id":"the-mouth-that-eats-itself","title":"The Mouth That Eats Itself (2026)","description":"\u003cp\u003eForthcoming\u003cbr\u003eTo be released in October 2026\u003cbr\u003ePre-order advanced copies now for a small discount.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDigital pre-orders will be automatically fulfilled upon the book's release.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\"For all who fight to find a place.\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eABOUT:\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e\u003c\/span\u003eThe fate of our freedom is among the most important topics for philosophy. 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The katabasis of geography’s logic is not a matter of idle inconsistency but an information hazard directly related to the fate of animals that lose their contours and disappear. \u003cbr\u003e\u003cbr\u003eTo reach this conclusion, Carl Olsson draws a diagonal line between ideas and images, from careful exegesis of Kant’s first Critique to countless vivid examples involving praying mantises, chameleons, geometry and owl-eyed butterflies. The ambient payoff is undeniable: you learn as much about the world as you do about yourself, and Olsson’s stunning vocabulary and precise choice of words never ceases to entertain.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eABOUT THE AUTHOR:\u003cbr\u003e\u003c\/strong\u003eCarl Olsson is a geographer and writer interested in how geographical thought impacts the human body. 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