16 Jan 2017

Grieving is a bleak business. But how do you grieve for someone who made it his life’s work to face up to the bleakest realities and yet to recognise joy where it existed and to forge hope for the future? A writer who himself grieved the passing of cultural and political possibilities, portrayed an utterly dismaying world populated by malign forces that reached into the very soul, but used writing to understand them, to resist them, and to project new virtual futures?

I first met Mark Fisher at Warwick University in the 90s, where his overpowering enthusiasm and determination to ‘produce’ (not just ‘think about’! he would insist) within and across multiple cultural forms and disciplines—and to produce cyberpunk-style, using whatever came to hand, experimenting with high-tech, low-tech, or no-tech, without needing to seek approval from any institutional authority—was inspirational. Mark was instrumental in the formation of the Cybernetic Culture Research Unit, which quickly became an official nonentity (but a productive one). He submerged himself in its collective endeavours, which resulted in a body of work I still find immensely compelling and intriguing, culminating in the coining of the term ‘hyperstition’ (cultural processes which make themselves real (of which the CCRU was one (or several))), the creation of the occultural Numogram, and the revelation of a pantheon of numerically-coded demons. This masterpiece of pulp theology combines a gleeful comic-book grandiosity with a diligent mapping of the space of human affect and an understanding of the human psyche as a mere switching-station for warring demonic currents. All of which continued to work beneath Mark’s writings, I think: he saw the world in terms of abstract forces and Spinozan struggles, and sought to name (demonise?) the cybernetic complexes of affect and power from which the circuitry of so-called reality is constructed; his writings continued to be populated by Katak and Uttunul, among others, as well as new conceptual personae such as the ‘gray vampire’ and malign apparatuses such as ‘business ontology’.

Mark also relished CCRU’s enterprise of collaboration and collective production, keenly anticipating the emergence of ‘microcultures’ that would spring up in-between, unassignable and unattributable to any one author. This search for new modes of collectivity was something he never let go of.

Yet the CCRU work also unmistakably bore the imprint of Mark’s zeal for supercharging theory with pop culture. Refusing all received cultural hierarchy, he always championed the conceptual and formal achievements of pop music, comics, fiction, TV, and film, aiming both to map and contribute to what he described as ‘pulp modernism’.

Beneath all of this simmered his intense class-consciousness and sensitivity to the invisible barriers, insider codes, traps and tricks that protect high culture and academic thought from those not already endowed with cultural capital and bulletproof confidence. He was never embittered by these barriers, but made it his business to expose and diagnose them, and to openly share his own frustrations, minor triumphs, and defeats as he was dashed against them. And his refusal of the assumption that mass-consumed pop culture is necessarily of a lesser conceptual density was just as uncompromising.

As well as being fascinated by the expression of the collective unconscious in even the ‘lowest’ forms of entertainment, he celebrated the cultural achievements of those who came from outside the media establishment, had got in before its rules had been set down, or had autonomously nurtured their own microcultures, and were thus able to realise singular, subversive visions of modernity untroubled by culture cops and homogenizing ‘managerialism’. Ever more deeply captivated by the resonances of the oddball canon he had assembled since childhood, he delighted in propagating both its pulp modernist obscurities and its poptastic gems to others; many a cultural itinerary has been sent off in an unexpected direction by contact with Mark Fisher’s work.

While there is a sense in which, for Mark, everything was personal, since he always gained theoretical purchase by connecting theory to his own experience, he also relentlessly attacked the very notion of the ‘person’ or ‘individual’. For many years Mark wrote about his struggle with depression; but his question was never ‘What is wrong with me?’ but ‘What is wrong with the world that it should produce such a suffering, closed-off subject?’ This conviction that ‘mental health’ is not adequately addressed as a merely personal condition, nor as a purely medical issue, led him to challenge all quick fixes that aim merely to restore the social (consumer-worker) functionality of the ‘unwell’…and entailed frustrated encounters with exasperated ‘mental health professionals’ who got more than they bargained for.

He multiplied his burden by believing that he could only heal himself by reconfiguring the world, or at least by seeding a social collectivity capable, against all prevailing forces, of breaking out of the prison-house of capitalist subjectivity. That’s because he was for real, ‘theory’ was not a game for Mark. And he was right in his belief that personal affect is a tributary of social, cultural, class, and economic forces. He was also right in his unflagging faith in cultural production as a source of energising joy, insight, and understanding, and a vector for emancipation; and in his belief that writing and theorizing about culture need not mean ‘critical’ dessication, but can in fact transform and intensify its effects and propel them beyond mere aesthetics, unlocking their political charge—something he proved to readers time and time again.

At a distance of twenty years, for me the Warwick era is lost in a general blur of intensity (and people talking intensely about intensity). But one trivial episode reminds me of qualities I loved in Mark: Having unexpectedly had an abstract for a joint conference paper accepted, and following a lengthy train journey, Mark and I began writing our paper the morning before the conference (of course), and a state of panic swiftly morphed into a sleep-deprived, hysterical flow state. It was hugely enjoyable, because Mark was never happier than when swept up in working on something that seemed to be building itself, soliciting further input, coalescing into some unexpected entity before his eyes, suggesting new double-meanings, puns, unexpected connections between the abstract and the empirical, Marvel Comics-style names for as-yet unnamed forces, concepts for unrecognised processes. Then the self-doubt would disappear, the anxiety would dissipate (even if the paper had to be given in a few hours!) and he would be in his element: that outside element, something beyond the strictures of the personal, that fuels enthusiasm and enthralled fascination with what is being ‘channelled’.
The paper was delivered. It was messy, it was truculent, it was sarcastic, it was a bit punk. Everyone hated it. Nevertheless, relieved of our duties, we later slunk into the posh conference reception held in a grand Victorian museum, where high-flying postmodern academics chatted politely with local dignitaries. Immediately we both knew this was not ‘for us’, and there was mutual relief in realising we shared the feeling that we were not supposed to be there. For a short while before we ran away, we skulked around in corners giggling at the professors’ fruity voices, sarcastically clinking our champagne flutes, and cracking up at being served canapés from a tray—like street urchins who had sneaked themselves into a palace.

And to me, that was Mark: the accidental interloper at High Table, the punk in the museum. Even when his work was acclaimed and he was appointed to a ‘real job’ at Goldsmiths, I think he always feared he was an impostor, just one who had decoded the scam and learned how to ‘pass’. But whether or not you agreed with him, whether or not you shared his passion for John Foxx or Sapphire and Steel, whatever your opinion on the philosophical rigour of his Schwarzenegger/Kant mash-ups, he was as close to the real thing as it gets: always in earnest (sometimes dangerously unfiltered), always keen to share his excitement and to respond to engagement, synthetic and eclectic in his sources but obsessional in pursuing the themes that he knew mattered, modest in person but passionate, ambitious, and vehement in thought. It felt good to know that he had finally ‘made it’, that he fought through, unable and unwilling to adapt his work to the requirements of academic tedium. Following the publication of Capitalist Realism, it was heartening to see his unique style and aptitude for rendering ideas dynamic, accessible, and connected to pop culture finally break through and create its own audience.

The path from anger and sadness to collective joy has taken a terribly wrong turn here—we have lost someone who painstakingly sought to construct and communicate hope, for himself and for others. There are many who can attest to his innate passion for thinking and creating, his positive influence, and his unaffected, sincere, and generous character. Realising at this moment that I assumed he would always be there, it’s hugely painful to think that he is no longer among us.

06 Dec 2016

Unfortunately owing to delays in printing, Yuk Hui’s The Question Concerning Technology in China won’t be arriving until around 23 December. We will try to fulfil all orders immediately, and apologise for the delay. Thanks to everyone who pre-ordered, it really does help us.

04 Dec 2016

Listen back here to Radio 3’s Hear and Now show from last night, the BBC’s first live binaural broadcast, featuring a programme of electronic music selected by Florian Hecker, and the première of his new commissioned piece Inspection—Maida Vale Project with libretto by Robin Mackay, featuring the BBC’s own EMS 5000 vocoder.

24 Nov 2016

We are pleased to share news of the publication of Formulations (Koenig Books [London]/Culturgest [Porto]/MMK [Frankfurt am Main]), a volume of essays on the work of Florian Hecker published to coincide with the opening, on 26 November, of the exhibition of the same name at MMK Frankfurt am Main, following its original version at Culturgest, Porto in Autumn 2015.


This transdisciplinary volume brings together writers many of whom will be familiar to Urbanomic readers: contributions come from Diedrich Diederichsen, François J. Bonnet, Reza Negarestani, Michael Newman, Gabriel Catren, Fernando Zalamea, Éric Alliez, Robin Mackay, Ina Blom, Christopher Haworth, and Sarat Maharaj.

Editor Robin Mackay has also used Formulations as an opportunity to experimentally extend the editorial model developed in Collapse with a ‘gluing’ procedure inspired by Zalamea’s conceptual championing of mathematical local-global transfers, by the history of the cut-up, and by Hecker’s procedures of macro- and micro-sonic formulation and reformulation—creating an interference between texts that explicitly opens up each separate contribution to the global space of the book. As explained in the ‘Operating Instructions’:

The material presented as output was post-processed using a new implementation of content vector interpolation synthesis which allows samples at coarse resolution drawn from multiple source signals to be ‘glued’ into their counterparts at specified points (a form of bidirectional subset interpolation). Detected conformances between local semantic patterns are realised as supplementary semantic vectors, effectively constructing a higher-dimensional global surface across which initially disparate content vectors are seen to exhibit like behaviour. The resulting global projection, in turn, is used to modulate each of the local signals from which it has been synthesized. In this case the operation was carried out using the currently available deep neural network software implementation (‘editor’). […]

The technique originated in the protocols of early textual machines constructed during the 1960s and 70s, when it was discovered that the (then manual) cutting and gluing of source signals afforded otherwise unobtainable effects. Where these early stochastically-inclined experiments disregarded semantic constraints, however, our (arguably more conservative) approach factors them in at the interpolation stage, and uses a normalising heuristic global model as an initial filter for fragment selection.

With semantic sample conformance detection limited by the memory constraints and discriminatory threshold of the editing module, even repeated iterations rarely yield a ‘smooth’ result: the interpolations remain discernible, their perceptual effects ranging from a sometimes rewarding conspicuous splitting of semantic streams and conceptual themata to the incidence of unpleasant, abnormal, or jarring artefacts in otherwise sound concatenations of semantic units. Nevertheless the suggestive synthetic, perspectival, and even hallucinatory effects obtained here by means of subset interpolation are positive indications for the use of CVI synthesis in the assembly of diverse textual reformulations.

07 Sep 2016


Robin Mackay


Florian Hecker
Libretto by Robin Mackay
5 October 2016

Großer Saal
Alte Oper
60313 Frankfurt

more information and tickets here