Showing posts with label nietzsche. Show all posts
Showing posts with label nietzsche. Show all posts

14 May 2026

Torpedo the Ark Goes k-punk: A Little Bit More Politics (Sections VII - XIII)

Марк Фишер: Кислотный коммунист
(SA/2026)
 
Note: All page references in this post are to Mark Fisher's k-punk: 
The Collected and Unpublished Writings of Mark Fisher (2004 - 2016)
ed. Darren Ambrose (Repeater Books, 2018). 
 
 
VII. 
 
Fisher may have hated D. H. Lawrence, but perhaps he might have appreciated Lawrence's idea of a democracy of touch [a], as one of his criticisms of the smartphone and other forms of touchscreen technology is that they involve touch devoid of any sensuality
 
"When the fingers encounter the glassy surface of the iPhone, everything they touch on the screen feels the same. The fingers are effectively acting as extensions of the eye and the brain - an eye and brain that have now been radically re-habituated by cyberspace." (487) 
 
Fisher thinks it astonishing that this line of thought was anticipated by Baudrillard in the 1980s - but even more remarkable is the fact that Lawrence foresaw all this in the 1920s. 
 
And like Tanizaki, Lawrence also wrote in praise of shadows, which, rather surprisingly, Fisher calls for the cultivation of in addition to the carving out of spaces "beyond the hyper-bright instant" (487). I so much prefer this poetic-philosophical Mark Fisher to the one who bangs on about politics and the financial crisis of 2008. 
 
 
VIII. 
 
The phrase that best sums up Fisher's utopian phase - his acid communism - is red plenty (a phrase he borrows from Francis Spufford's 2010 book of that title). It refers to the collective capacity of the People to "produce, care and enjoy" (510) and is the thing which, he says, capitalism is set up to block: 
 
"The attack on capital has to be fundamentally based on the simple insight that, far from being about 'wealth creation', capital necessarily and always blocks our access to this common wealth." (510) 
 
In a post-capitalist future, technological advancements and the communist re-ordering of society will provide abundance for all: "Everything for everyone" (510), including bread and roses. Gone forever will be the days of artificial scarcity. 
 
Further, everyone will feel a sense of red belonging - a sense of belonging that has nothing to do with faith, flag, or family and cannot be "reduced to the chauvinistic pleasures that come from being an insider in any group whatsoever" (510-511). 
 
It is, rather, a "special sense of involvement that promised to transfigure all aspects of everyday life in a way that, previously, only religion had promised to, so that even the dreariest task could be imbued with high significance" (511). 
 
The great promise of red plenty and red belonging is that it doesn't matter "where you come from or who you are" (511), you will be cared for unconditionally. 
 
It's clear how this line of thinking might feed into the open borders movement. What's not quite so clear is how such thinking relates to Fisher's own mental health; frankly, I can't see how anyone can promote such ideas without being in some sort of delirium (similar to the mystical state experienced by those who suddenly find God) [b]. 
 
I know some of his more ardent supporters believe that Fisher's speculative nostalgia and hallucinogenic politics is the best way to confront capitalist realism, but for those looking for a rather more practical strategy for transitioning from neoliberalism to a democracy to come, Fisher's work is essentially worthless. It also seems somewhat at odds with his own more pessimistic views and criticism of the moralising left. 
 
In sum: whilst I'm all for the creation of new narratives and conceptual frameworks - and maybe even a little bit of libidinal engineering - Fisher's acid communism fails to convince and red plenty leaves me hungry for something more. 
 
 
IX. 
 
And back to the topic of consciousness-raising ... A practice (or range of practices) that Fisher believes to be of crucial importance to molecular revolution: 
 
"Consciousness-raising opens up the possibility of living, not merely theorising about, a collective experience. It can give us the resources to behave, think and act differently [...]" (514) 
 
For Fisher: 
 
"The roots of any successful struggle will come from people sharing their feelings, especially their feelings of misery and desperation, and together attributing the sources of these feelings to impersonal structures [...] mediated by particular figures to which we must attach populist loathing" (514). 
 
These figures would include, for example, landlords and entrepreneurs, whom Fisher brands as parasites. We might, I would suggest, see this as a succinct definition of what Nietzsche calls ressentiment and which is central to slave morality. 
 
Fisher claims that the aim of consciousness-raising is to produce more compassion "for others and for ourselves" (514), but I worry that his proposed method of consciousness-raising will only generate class hate and make people feel pretty rotten about themselves too; has knowing that others feel as desperate as you do ever really helped? [c] 
 
 
X.
 
Fisher is grateful to Francis Spufford for reminding us all that "when communism was defeated, it wasn't just a particular ideology that disappeared" (518). 
 
No, the demise of communism - and he's thinking here of the USSR - was also "the disappearance of modernism's Promethean dream of a total transformation of human society" (518). 
 
Now you might be forgiven for thinking that's a good thing. For this dream became a dystopian nightmare, did it not? Surely Fisher knows the history of the Soviet Union - and, indeed, he might also be expected to know what happened to Prometheus (for those who don't recall their Ancient Greek mythology, it ended even worse for him than for Trotsky).    
 
Is Fisher really falling back into what Nick Land would call a sentimental indulgence - i.e., the hope that a political revolution will lead to "new productive, perceptual, cognitive and libidinal possibilities" (518). 
 
I don't want to be a postmodern killjoy who radically lowers expectations and crushes dreams, etc. But, really, c'mon! Knowing, Mark, that there's no way back to old school communism [d], why pin your hopes on renewing (and resuming) class solidarity and the building of radical machineries of desire
 
 
XI. 
 
I mentioned above how, for Fisher, "the roots of any successful struggle will come from people sharing their feelings" (514). 
 
And yet, in another text from 2015, titled 'Anti-Therapy', Fisher acknowledges that the idea that "talking about our feelings could be a political act seems counterintuitive" (521) and that this new emotionalism seems closely linked to capitalist realism - born of Tony Blair's "manipulation of the extraordinary grief jamboree that ensued in the immediate wake of the death of Diana, Princess of Wales" (521). 
 
Fisher rightly says that the new emo-politics enforced by New Labour "went far beyond mere mood-setting" (522) - now we all had to possess the right feelings and share them in the approved manner. Blair "led the way in normalising the emotional self-exploitation that was necessary for the final phase of neoliberalism in Britain" (522) - a phase that Fisher amusingly calls spincerity (the public performance of an emotion you may or may not genuinely feel). 
 
It's enough to make one wish for the return of traditional British restraint and resolve; of stiff upper-lips and stoical detachment. However, Fisher sees this as reactionary and posits in contrast a third way (if I can use such a phrase); one based on his reading of Spinoza. 
 
For Spinoza's philosophy "makes the management of emotions central to its project" (524) and aims not to repress feelings, but engineer joy via the use of reason. This, for Fisher, makes Spinoza "a thinker whose work is an indispensable resource for any progressive project" (524) - a view that is not uncommon amongst neo-Marxist thinkers (particularly those influenced by Deleuze and Badiou) [e].  
 
Get Spinoza on board, says Fisher, and talking about our feelings can become a radical political act; "part of a practice of consciousness-raising that makes visible the impersonal and intersubjective structures that ideology normally obscures from us" (530).  
 
  
XII.  
 
This seems at first a rather disingenuous thing to write: 
 
"It's somewhat ironic that theories of the 'Event' have come to the fore [...] at just the moment in history when it has become clear that events in and of themselves don't change anything." (531)
 
For Fisher surely knows that the Event (as conceptualised by philosophers) is extremely rare and has little to do with the events covered by the news media, such as Live Aid, for example, or the G20 protests. The Event - at least as I understand it (inspired by Lawrence) - is a rent in the Great Umbrella; something that allows a glimpse of chaos and the discovery of a new world via the destruction of fixed forms [f].  
 
But perhaps Fisher was thinking of something said by Zarathustra to the effect that what matters more than noisy, violent events are those changes that take place in us in our stillest hours: "'The world revolves, not around the inventors of new noises, but around the inventors of new values: it revolves inaudibly.'" [g] 
 
Heidegger picked up on this idea after the War, when he attempted to purge his notion of Transzendenz - Dasein's ability to start over and transform the world - not only from its conventional ties to metaphysics but to the idea of action. What was required, Heidegger argued, was not some great event, but a form of silent waiting
 
What seems most to worry Fisher is that events often result in euphoric outbursts of feeling "followed by depressive collapse" (531) - but the same could be said of love, no? 
 
Still, if events are the be-all and end-all - if change doesn't happen through them alone - "there are nevertheless moments which function as thresholds, opening up a new terrain of struggle, and allowing different collective emotions to propagate" (532). 
 
Which is basically saying things can still happen out of the blue ...   
 
 
XIII.  
 
Finally, we come to the two short texts, both from 2016, with which part four of k-punk closes; firstly, 'Cybergothic vs Steampunk' and, secondly, 'Mannequin Challenge' ...
 
In the former, Fisher argues that the global terrorist network ISIS "holds up a mirror to twenty-first century capitalist nihilism" (544). A form of nihilism that is essentially a type of existential poverty. We might not like to admit it, but ISIS offer a solution to this (albeit a horrifically false solution). For like criminal gangs and religious cults, ISIS offer those who join fellowship and meaning.    
 
Perhaps more interestingly, Fisher describes ISIS in relation to his concept of the cybergothic:
 
"There are no 'pure' archaisms, nothing ever repeats without difference, and ISIS is properly understood as a cybergothic phenomenon which combines the ancient with the contemporary (beheadings on the web)." (546)
 
And whilst he is obviously not a supporter of ISIS, Fisher - a bit like Foucault, who greeted the Iranian Revolution in 1979 with warm enthusiasm [h] - is excited by "the rising tide of experimental political forms in so many areas of the world at the moment" (546). 
 
And that's because, for him, this shows that "people are rediscovering group consciousness and the potency of the collective" (546).     
 
I can't help wondering whether, if he were alive today, Fisher (like Foucault in his late work) would find it necessary to rethink questions central to the Enlightenment and to liberalism. To concede, for example, that whilst the individual is a political fiction, it's nevertheless a useful one which needs vigorously defending; as does secular society when threatened by militant religious fascism. 
 
In the latter piece, Fisher comments on Donald Trump and his successful campaign in 2016 to become President of the United States. 
 
In contrast to Clinton and her team of "political robots playing out an exhausted programme" (547), Trump's campaign "was possessed of a sense of effervescing excitement, of anarchic unpredictability, the feeling of belonging to a building-movement" (547). 
 
Fisher understands how Trump caught the mood of popular dissatisfaction with capitalist realism and performed with a certain libidinal freedom that was attractive not only to his supporters, but to many who wouldn't vote for him in a million years and were appalled by his rhetoric and immoderation. His campaign may have been ugly, but at least it wasn't boring. 
 
In brief, like many other commentators of a certain generation, Fisher recognised that Trump was the punk candidate (what this tells us about the latter is an interesting question we might discuss one day).   
 
Notes
 
[a] I have written several posts referencing this Lawrentian idea; see, for example, the post dated 14 May 2014 - 'Towards a Democracy of Touch' - click here
      Note that the word 'hated' is used deliberately here; Matt Colquhoun confirmed to me in a recent email (7 May 2026) Fisher's visceral hostility toward Lawrence.
 
[b] Normally, I would not comment on someone's mental health. However, since Fisher and his followers make such a point of politicising depression - arguing that it is a social phenomenon heavily influenced by capitalism rather than a purely chemical or biological issue - I feel justified in doing so.
      Note, however, that my use of the term delirium is not simply intended in the narrow clinical sense, but more in the philo-political sense deployed by Deleuze and Guattari, for whom delirium is a way the unconscious invests in the social field, sometimes opening up radical,revolutionary lines of flight. I suggest that Fisher's vision of acid communism operates as this precise kind of political delirium; an elaborate, idealised alternative reality constructed to escape the immense psychological claustrophobia of capitalist realism. Such a vision of utopia functions as a temporary, internal flight mechanism from profound depression. Suddenly, the world feels meaningful and loving once more. 
      However, as a political strategy, this hallucinogenic clarity borders on a mystical state rather than practical materialist organising. And, unfortunately, such states seldom last; when the speculative fantasy dissolves, the individual comes back down to earth with a bump, resulting in renewed depression. Fisher, as most readers will know, tragically committed suicide less than two years after writing the text discussed here.
 
[c] Historically, of course, it has. In the second-wave feminist consciousness-raising groups of the late 1960s and 1970s, for example, sharing personal experiences of isolation, shame, and subjugation was precisely what allowed women to see that their private misery was structural and political. This collective realisation was a vital catalyst for solidarity and agency. 
      However, my contention with Fisher is that his specific formula for consciousness-raising risks short-circuiting this therapeutic transformation. Rather than moving from shared misery to structural agency, Fisher's explicit demand for populist loathing targeted at parasites paves a direct line toward Nietzschean ressentiment. It risks trapping the participants in a permanent state of reactive anger and class hate, which ultimately toxicifies the self and breeds a new form of psychological misery. 
      Of course, Fisher himself is aware of this danger, which is why he later refers readers to Wendy Brown's essay 'Wounded Attachments' (1993) - an essay in which she diagnoses the psycho-libidinal origins of an identity politics and what those on the right call wokism
      Fisher writes: "Drawing on Nietzsche's account of resentment [...] Brown wrote of a political subjectivity which 'becomes deeply invested in its own impotence, even while it seeks to assuge the pain of its powerlessness through its vengeful moralizing, through its wide distribution of suffering, through its reproach of power as such'" (526-527). And Fisher concludes that today "the mixture of moralizing aggression and investment in impotence has proliferated in a political atmosphere now substantially shaped by the online environment" (527).
      Brown's essay can be found in Political Theory, Vol. 21, No. 3 (August 1993), pp. 390-410. It can be accessed via JSTOR by clicking here.  
 
[d] Fisher says as much: "I don't believe that the old signifier 'communism' can be revived [...] It is now irretrievably tainted by terrible associations, forever tied to the nightmares of the twentieth century" (520). Funnily enough, however, a few months later he names his new politics of desire emerging from the future ... acid communism.  
 
[e] As a Lawrentian, I have my reservations about Spinoza and his rationalism. Nevertheless, his work is useful in exposing the myth of the autonomous individual at the heart of the liberal tradition which drags with it notions of free will and responsibility.   
 
[f] See the post titled 'on Poetry, Chaos and the Great Umbrella' (10 June 2013): click here.  
 
[g] Nietzsche, Thus Spoke Zarathustra, trans. R. J. Hollingdale (Penguin Books, 1969), pp. 153-154.  
 
[h] Writing in an Italian daily newspaper (Corriere della Sera), Foucault praised the Iranian Revolution as an authentic anti-imperialist movement and a spiritual revolt against Western-imposed modernity, rather than just a religious coup. See my post dated 14 August 2014, in which I discuss this: click here
 
 
This post is a continuation of my previous post on Fisher's political writings in the book k-punk (2018): click here
 
And for earlier thoughts on Fisher's political writings in the above work, please click here.
 
  

12 May 2026

Torpedo the Ark Goes k-punk: A Little Bit More Politics (Sections I - VI)

Mark Fisher photographed in 2011 at 
Museu d’Art Contemporani de Barcelona 
 
'Politics is the last great sentimental indulgence of mankind and it has never achieved anything 
except a deepened idiocy ... Quite naturally we are bored of it to the point of acute sickness.' 
                                                                                                                     - Nick Land (1992)
 
 
I. 
 
Having read the first fifty-odd pages of Mark Fisher's political writings collected in k-punk (2018) [a] and having commented on them in a previously published post - click here - I must confess I'm increasingly sympathetic to Nick Land's position stated above.
 
However, once I start reading a book, I'm like the proverbial dog with a bone ... And so, here are some more fragmented remarks on Fisher's political writings, as I once more pick out those things that either inspire or irritate; delight or disappoint ...   
 
 
II.  
 
For Fisher, Damien Hirst is the artist of capitalist realism par excellence. Thus, whilst he's "not interested in rehearsing [...] discussions of Hirst's merits as an artist" (444), he is interested in Hirst's "symptomatic status as a figure who embodies capital's penetration into all areas of culture" (444). 
 
Personally, I think it a little ridiculous to even mention Hirst in the same sentence as Andy Warhol, but Fisher claims that the former is, in fact, "the Warhol of capitalist realism" (444) albeit one who has "none of Warhol's blank charisma" (444) - or genius. 
 
Fisher writes:
 
"In place of Warhol's android awkwardness Hirst offers a blokish bonhomie. Warhol's studied banality has become the genuinely ultrabanal. Or, rather, the Hirst phenomenon typifies the way in which, in late-capitalist art and entertainment culture, the ultrabanal and the super-spectacular have become (con)fused." (444-445)  
 
For Fisher, Hirst's work lacks any ambiguity: it is what it is, no more, no less, and in its flat realism it "leaves no space for commentary" (445). His dead animals in formaldehyde "cannot be re-imagined, transfigured or changed" (445) - just like the political system and the culture which produced them. 
 
 
III. 
 
Torpedo the Ark wasn't a thing back in the summer of 2012, but, if it had been, I'm pretty sure that what Fisher says of the London Olympics is what I would have said: they were designed to be a massive distraction; "the antidote to all discontent" (449).  
 
Sit back, relax, forget all your worries, and enjoy the show - brought to you by McDonalds and Coca-Cola. 
 
Just to be clear: you can hate the greed and cynicism of the corporate sponsors and hate the media who broadcast the event with professional enthusiasm - or hysterical PR delirium as Fisher describes it - and still love the sport (though, in my case, I don't give a shit about sweaty athletes competing for medals and breaking records). 
 
Fisher nails exactly what's going on:
 
"The point of capital's sponsorship of cultural and sporting events is not only the banal one of accruing brand awareness. Its more important function is to make it seem that capital's involvement is a precondition for culture as such. [...] It is a pervasive reinforcement of capitalist realism." (450)
 
Amusingly, Mark isn't a fan either of the ArcelorMittal Orbit - that 376-ft sculpture and observation tower designed by Anish Kapoor and Cecil Balmond and intended to be a lasting legacy of the London 2012 Olympic and Paralympic Games. My mother described it as an eyesore, but Fisher says it's the perfect symbol of the inertia and sterility of capitalist realist culture.     
 
 
IV.
 
Capitalist realism is both a belief and an attitude: we believe that it is the only viable option (that there is no alternative); and we therefore resign ourselves to this with a mixture of defeatism and depression - politics is over, history has terminated, and now we're all in it together
 
Fisher thinks the only hope is to raise consciousness among the young; get them to see that there can be an alternative modernity (only don't confuse this with postmodernism, which, like Fredric Jameson, he hates and believes to be the cultural logic of late capitalism). 
 
The other thing to do is get the young to engage with mainstream forms and institutions (despite what the anarchists say); "the idea that mainstream culture is inherently coopted, and all we can do is withdraw from it, is deeply flawed" (466) [b]. That is perhaps the most liberal-sounding thing Fisher ever wrote, although, arguably, it is entirely consistent with his radical politics (later named acid communism).   
 
Where I do not agree with Fisher, however, is on the question of success and failure. In a revealing passage, he writes:
 
"There is too much toleration of failure [...] If I ever have to hear again that Samuel Beckett quote, 'Try again, fail again, fail better', I will go mad. Why do we even think in these terms? There is no honour in failure, though there is no shame in it if you have tried to succeed. Instead of that stupid slogan we should aim to learn from our mistakes in order to succeed next time. The odds might be stacked in such a way that we do keep losing, but the point is to increase our collective intelligence. That requires, if not a party structure of the old type, then at least some kind of system of coordination and some system of memory." (467)  
   
My goodness me! Anyone wishing to know how, where, and why k-punk differs from TTA might be advised to start with this passage ... 
 
First of all, no matter what Fisher seems to think, even if we can learn from our mistakes, we don't learn how to succeed in the future. At most, as Beckett indicates, we learn only how to fail better. For as much as we may wish to believe that endurance, struggle and sacrifice will eventually pay off, success is never an option: we are destined and doomed to fail; such is the tragic character of existence (it takes what Nietzsche calls a pessimism of strength to affirm this and find in it a source of dark comedy) [c].   
 
Secondly, unlike Mr Fisher, I do not think in terms of honour and shame and I would not wish to belong to the kind of collectivist culture which subscribes to this way of thinking (and judging); i.e., the kind of culture where breaches of social or religious norms that threaten to bring shame (or dishonour) upon a family or community often lead to ugly acts of violence.
 
Linking these notions to a system of coordinationmemory, and collective intelligence sounds suspiciously like the imposition of a bureaucratic superego to me and one fears that even the most acidic form of communism would invariably result in increased surveillance, control, and conformity [d]. Prioritising the collective over the individual and thinking in terms of honour and shame obliges us to align with party goals and justifies the State using public humiliation to punish deviants and deter dissent [e].
 
Obviously, Fisher wouldn't want this to happen. But the language he uses in the passage above makes me more than a little uncomfortable ...    
 
 
V.
 
For me, Fisher is at his best when at his most outrageous; as he is in the piece entitled 'Suffering with a Smile' (2013), in which he describes how the division between life and work no longer exists and that even CEOs are servants of the Machine. 
 
Now workers are not only stretched to their physical limits, but obliged to smile and show how much they love their jobs:
 
"Being exploited is no longer enough. The nature of labour now is such that almost anyone, no matter how menial their position, is required to be seen (over)investing in their work. What we are forced into is not merely work, in the old sense of undertaking an activity we don't want to perform; no, now we are forced to act as if we want to work." (473)
 
And yet ... that's not quite right: "The subjugatory libidinal forces [...] don't want us to entirely conceal our misery. For what enjoyment is there to be had from exploiting a worker who actually delights in their work?" (473)
 
And so, in order to understand the sadistic game being played now in the world of work, one must consider the pornographic practice of bukkake:
 
"Here, men ejaculate in women's faces, and the women are required to act as if they enjoy it [...] What's being elicited from the women is an act of simulation. The humiliation is not adequate unless they are seen to be performing an enjoyment they don't actually feel. Paradoxically, however, the subjugation is only complete if there are some traces of resistance. A happy smile, ritualised submission; this is nothing unless signs of misery can also be detected in the eyes." (474)
 
That's a brilliant insight into the staging of desire and reminds one of how cruelty remains one of the oldest pleasures of mankind ...[f] 
 
   
VI. 
 
One of the ironies of punk was that although it protested against boredom, it was in fact born of such and derived much of its impetus and inspiration from the fact that everything in the mid-1970s seemed so bloody boring to many teenagers looking for emotional rages as TV Smith would have it [g].
 
Fisher understands that and regrets the manner in which smartphones have effectively eliminated boredom via constant distraction. Now, young people are anxious and depressed, but never bored. 
 
Amusingly, he writes that he almost feels nostalgic for the "dreary void of Sundays, the night hours after television stopped broadcasting, even the endless dragging minutes waiting in queues or for public transport" (485). The smartphone provides a vast array of features and applications offering instant, on-demand entertainment - who could ask for more?
 
Fisher, for one - and I'd second him here: "Boredom was ambivalent; it wasn't simply a negative feeling that one simply wanted rid of. For punk, the vacancy of boredom was a challenge, an injunction and an opportunity ..." (485)    
 
In neutralising boredom and dispersing our attention, capitalism has made everything boring! 
 
 
Notes
 
[a] Mark Fisher, k-punk: The Collected and Unpublished Writings of Mark Fisher (2004 - 2016), ed. Darren Ambrose (Repeater Books, 2018). Please note that all page references to this text will be given directly in the post.
 
[b] In the article 'How to Kill a Zombie: Strategising the End of Neoliberalism' (2013), Fisher writes: "Neo-anarchist doctrine maintains that we should abandon mainstream media and parliament - but our abandoning it has only allowed for neoliberals to extend their power and influence." (478). 
      Similarly, Fisher argues that the anarchist emphasis on direct action "conceals a despair about the possibility of indirect action" (478), yet it is only via the latter that "the control of ideological narratives is achieved" (478).  
      And later, in 'Limbo is Over' - a k-punk post from April 2015 - Fisher even breaks ranks with his then hero Russell Brand and encourages people to get out and vote: "It's hard not to have some sympathy with Brand's disdain for voting [...] But the problem is that popular disengagement from parliamentary politics suits the right more than us." (490) I don't know if that's true, but I tend to share Sartre's position on this question and agree that whilst it might make sense to sometimes vote against, one should never vote for.   
 
[c] See my post on Beckett's phrase from Worstward Ho (1983) dated 11 June 2013: click here.    
 
[d] Fisher would obviously challenge this. Indeed, in 'How to Kill a Zombie' he does precisely that, writing that whilst he doesn't want a return to "old-school Leninism", he would like to see the left get a little more organised and "overcome certain habits of anti-Stalinist thinking" (479), so that it might impose an effective programme of change and take seriously the task of actively dismantling neoliberalism. 
      In other words - and Fisher is explicit about this - the task for those on the left is not merely to rethink questions of solidarity, but retrain in the art of class war. I'm afraid this is all a bit too militant for my tastes.   
 
[e] Readers will recall how, in the Soviet Union, prorabotka sessions were held in workplaces and universities; or how, in Maoist China, class enemies were forced to publicly confess misdeeds and wear derogatory signs, thereby creating a culture of self-censorship and fear, wherein individuals closely monitored their own actions to avoid being labelled a regime opponent.
 
[f] In Daybreak (I. 18), Nietzsche argues that cruelty should not be viewed as a perverse aberration, but, rather, as one of the "oldest festive joys of mankind". In his view, the ability to inflict or witness suffering was historically not only a source of deep delight, but also an act via which "the community refreshes itself and for once throws off the gloom of constant fear and caution". 
      I am using R. J. Hollingdale's translation in the 1982 Cambridge University Press edition of Nietzsche's book originally published in German as Morgenröthe - Gedanken über die moralischen Vorurtheile (1881).    
 
[g] I'm referencing the song 'Bored Teenagers', written by TV Smith of punk group The Adverts (which featured as the b-side of their hit single 'Gary Gilmore's Eyes' (Anchor Records, 1977): click here to watch them play the track live on The Old Grey Whistle Test (BBC2, Feb 1978). 
      And here's another classic punk track on the theme of boredom - written by Howard Devoto and Pete Shelley of the Buzzcocks and included on their Spiral Scratch EP (New Hormones, 1977): click here  
 

10 May 2026

Torpedo the Ark Goes k-punk: A Little Bit of Politics

 
 Mark Fisher: illustration by Amreetha Lethe
 
'It is beginning to look as if, instead of being the end of history, capitalist realism 
was a thirty-year hiatus. The processes that began in the Sixties can now be resumed. 
Consciousness is being raised again.' 
                                                                                                  - Mark Fisher (2015) [a] 
 
 
I. 
 
I would guess that I'm not the only reader of Mark Fisher's work to find his cultural criticism more interesting than his political analysis. It would be foolish, however, to try and draw a hard and fast distinction between the two. 
 
For like Nietzsche, Fisher understands how philosophy and literature have a "profound and congenial relation to each other" [b] and part of the appeal of his text is that he promiscuously draws upon all manner of considerations, including those previously regarded as irrelevant to serious investigation.
 
In fact, I would argue that Fisher's devising of a charmingly idiosyncratic literary-philosophical mode of language and thought and his application of such to a wide range of contemporary concerns is one of his finest achievements. Fisher demonstrates how writing - at its best - is capable of providing a sense of solidarity; i.e., "fill the conditions of a collective enunciation that is lacking elsewhere" [c]. 
 
Fisher's work therefore demands - and deserves - to be read in the round; from the early k-punk pieces to his later stuff on all things weird and eerie via his seminal (but overrated) text Capitalist Realism (2009). 
 
That being said, when tasked with editing Fisher's collected and unpublished writings from the thirteen-year period 2004 - 2016, Darren Ambrose does separate out the political writings as best he can and it is part four of k-punk (2018) that I'd like to comment on here - picking out those things that either inspire or irritate; delight or disappoint.      
 
 
II. 

The lines quoted at the top of the page from Fisher are found in a short piece that is included in part three of k-punk - writing on music - and not in part four containing his political writings. But these lines pretty much sum up Fisher's attitude: neoliberalism bad; acid communism rooted in the countercultural ideas of the 1960s, good [d].
 
Such revolutionary optimism contrasts sharply with my own rather more cynical and pessimistic philosophy; i.e., the kind of ironic nihilism that Fisher equates with postmodernism and which he despises as a form of reflexive impotence preventing radical change or commitment and thus ultimately complicit with capitalist realism.
 
And so, unfortunately, Fisher's political writings, combining psychedelic utopianism, pulp modernism and ghostly lost futures, more often than not cause me to sigh rather than nod in agreement - but at least they allow for a (hopefully amusing) collision of perspectives ...  
 
 
III.  
 
The danger when you produce work that is very much up to the minute - full of names in the news and references to contemporary pop culture - is that your writing is instantly dated. 
 
And Mark Fisher's political writings are full of such names and references, although, reading his work now, in 2026, produces the rather strange effect of making the period in which he was active (2004-16) feel even further in the past than my own childhood. 
 
Tony Blair ... Gordon Brown .... David Cameron ... I know who they are - I remember them - but they seem to have less reality than Harold Wilson, Denis Healey, and Edward Heath.     
 
I'm not sure why that is: perhaps Mike Yarwood was a better impressionist than Rory Bremner. Whatever the reason, it perhaps helps to explain the following sentence: "There was a time when elections at least seemed to mean something." (377)
 
And it also helps us understand what Fisher is getting at here: "Realism has nothing to do with the Real. On the contrary, the Real is what realism has continually to suppress." (380) [e] 
 
That's a sentence that resonates with Baudrillard's philosophy, although the latter refers to raw, unmediated experience as the symbolic rather than the Real and, being a cultural pessimist, he sees it as something that is gone forever - an extinct category - rather than something that continues to threaten realism and thus still needing to be repressed. 
 
I might be wrong, but I get the impression that Fisher thinks we can return to the Real if only we all raise consciousness, join hands, and leap together into a lost future [f]. Baudrillard would regard this as a nostalgic delusion.  
 
 
IV.
 
According to Fisher, Islamofascism is a pseudo-concept: 
 
"There are any number of reasons to consider the idea that there is such a thing as Islamofascism a nonsense. Here are two. First of all, fascism has always been associated with nationalism, but, like global capital, Islamism has no respect for nationality; the first loyalty of the Islamist is to the global Umma. Secondly, fascism is about the State - Islamism has no model of the State, as could be seen in Afghanistan under the Taliban. (390)
 
To be fair, they're quite good reasons - though in response to the first, one might wonder then if Fisher would be more approving of the term Islamocommunism ...? [g]
 
What puzzles me, however, is how he then happily uses the term Islamophobia which is another highly contentious neologism and equally a pseudo-concept; one designed to stifle legitimate criticism of the religion masquerading as a term that operates within an anti-racist framework. 
 
Christopher Hitchens - not an author referred to by Fisher and not one I would imagine him liking - is often associated with the description of Islamophobia as a word 'created by fascists and used by cowards, to manipulate morons' [h]. 
 
And the French writer Pascal Bruckner - one of the so-called nouveaux philosophes who came to prominence in the mid-late 1970s - wrote a famous article on the origin of the term for Libération in January 2011, arguing that it was invented by Iranian fundamentalists with the aim of declaring Islam inviolate [i].    
 
It would seem to me, that either both terms should be avoided, or both should be free to use (whilst open to interrogation). What you can't do is declare the legitimacy of one whilst dismissing the other as a pseudo-concept [j].   
 
 
V.  
 
As a nihilist, Fisher's call for "new kinds of negativity" (432) is something I can get behind. 
 
I'm not quite sure how we square such with his eternal optimism, but let's leave that to one side for a moment. The key thing is to abandon faith in those older forms - such as art - which some on the left still believe to be full of vital revolutionary potential; people such as the Italian political philosopher Antonio Negri ...
 
"Art, Negri maintains, is intrinsically rebellious and subversive. Even though Negri himself recognises the dangers of taking too much consolation in art, he ends up retaining faith in it." (432)
 
As Fisher points out, Negri's praising of art as a source of freedom and transformation seems strangely nostalgic - and not just nostalgic, but laughably naive: "For the era of capitalist realism has also seen all kinds of synergies between art and business, nowhere better summed up than in the concept of the 'creative industries'." (432)    
 
It's to his credit that Fisher rejects (or at least challenges) the argument that the art that dominates within capitalist realism is somehow fake art; "a betrayal and dilution of art's inherent militancy" (432). 
 
Why not, says Fisher, simply push Negri's own logic of negativity to the point at which one recognises that "there is no readymade, already-existing utopian energy; that there is nothing which, by its very nature, resists incorporation into capital" (432).
 
Recognise this, and one is obliged to drop the idea that art is opposed to capitalism and that power only restricts and denies creativity (is only ever repressive). As Foucault pointed out, power is itself inventive and creative; it produces new forms and discourses, induces new pleasures [k]. Thus, overcoming capitalism "will not involve inventing new modes of positivism, but new kinds of negativity" (432).   
 
Zarathustra would go along with that [l] - and I go along with that.  
  
 
Notes
 
[a] Mark Fisher, 'No Romance Without Finance', in k-punk: The Collected and Unpublished Writings of Mark Fisher (2004 - 2016), ed. Darren Ambrose (Repeater Books, 2018), p. 373. The piece, dated 9 Nov 2015, originally appeared in Bamn: An Unofficial Magazine of Plan C
      All further page references to k-punk (2018) will be given directly in the main text.  
 
[b] Nietzsche, 'The Struggle between Science and Wisdom', in Philosophy and Truth, ed. and trans. Daniel Breazeale (Humanities Press International, 1993), p. 134. 
 
[c] Gilles Deleuze and Félix Guattari, Kafka: Toward a Minor Literature, trans. Dana Polan (University of Minnesota Press, 1997), p. 18. Whether this in turn opens up the possibility of a new becoming or provides a genuine alternative to the reality principle shaped by neoliberalism, is debatable. 
 
[d] I'm aware of the fact that the idea of acid communism was a late development in Fisher's work and that all that remains of a proposed new work with that title is the (unfinished) introduction. Nevertheless, I'm going to use the term here, somewhat anachronistically, as I don't believe Fisher would object to such retro-intertextuality or prochronism.  
 
[e] Fisher will later describe realism as "not a representation of the real, but a determination of what is politically possible" (380-381).  
 
[f] If Fisher does not in fact think of the Real as a location to which we might return, then he certainly does like to imagine the Real as some kind of external limit in much the same way as Deleuze and Guattari imagine schizophrenia. Or  as "an event completely inconceivable in the current situation, but which will break in a re-define everything" (383).    
 
[g] Today, we are witnessing a strange marriage of convenience between Islamists and those on the far-left; Zack Polanski and the Green Party are playing a dangerous game as they flirt with religious sectarianism on the one hand and political populism on the other. 
 
[h] Apparently, this was actually said by Andrew Cummins and is therefore misattributed to Hitchens - understandably so, as it closely reflects his own view of a term he dismissed as stupid and one designed to suggest that fear and prejudice lie behind perfectly reasonable concerns about a powerful and aggressive religion.  
 
[i] The English translation of this article by Bruckner - titled 'The invention of Islamophobia' (03/01/ 2011) can be found on signandsight.com - click here.  
 
[j] Without wishing to put words into his mouth, I suspect that Fisher would argue that Islamophobia is a legitimate sociological term identifying a factual well-documented phenomenon, whereas Islamofascism is a category error, designed to morally and politically justify Western interventionism and the War on Terror. 
      In other words, the former describes an effect of power (structural racism); the latter is a historically illiterate claim made by power to reduce complex geo-political issues to a simple struggle between good and evil.  
 
[k] See Michel Foucault, 'Truth and Power', in Power, vol. 3 of the Essential Works of Michel Foucault 1954-1984, ed. James D. Faubion, trans. Robert Hurley et al (Penguin Books, 2002). 
 
[l] For Nietzsche, only braying donkeys nod their heads all the time and only camels say yes to even the heaviest burdens - the lion, however, dares to say no and this saying no is a creative foundational act, not merely a refusal; it is, if you like, the active negation of the negative. 
      See 'Of the Three Metamorphoses', in part one of Thus Spoke Zarathustra and see also what Nietzsche writes in Ecce Homo on the importance of No-saying as a necessary first step toward a revaluation of all values.  
 

28 Apr 2026

Torpedo the Ark Goes k-punk: An Opening Salvo

 Mark Fisher: k-punk 
(Repeater Books, 2018) [a]
 
I started the blog because it seemed like a space in which to maintain 
a kind of discourse that had all but died out, with what I think are 
appalling cultural and political consequences. - k-punk (2005)  
 
 
I. 
 
According to Simon Reynolds, 'Mark Fisher's k-punk blogs were required reading for a generation' [b].  
 
I pretty much belong to that generation: born in the '60s; raised in the '70s; graduating in the 1980s [c]. However, I must confess to having never read a word written by Fisher until relatively recently. This despite the fact that he and I were both in the philosophy department at Warwick as doctoral students in the 1990s, and shared many of the same obsessions and points of reference.      
 
I suppose, post-Warwick, I had my own projects to keep me occupied. I certainly had nothing to do with the blogosphere until November 2012, when the Little Greek set up Torpedo the Ark and suggested I might enjoy publishing posts more than merely scribbling private notes in writing pads. She was right, of course; as the 2,700 or so posts published since that date testify.    
 
Still, better late than never ... And having just bought a copy of k-punk: The Collected and Unpublished Writings of Mark Fisher (2004 - 2016) - a big, fat book containing many of the posts from his seminal blog - I now hope to discover for myself the "elegance and reach of Fisher's writing, the evangelical urgency and caustic critique that seared through his rapid-fire communiques" [d].
 
I suspect the philosophically-informed posts will interest me more than the ones on pop music and film. I'm particularly keen to investigate how Fisher moves from being a Ccru-inspired accelerationist who exalted "the border-dissolving flows of capital and scorned socialism as a decrepit early 20th-century relic" [e] to becoming such an absolute opponent of neoliberalism and a pioneer of acid communism.  
 
This post, however, is merely setting the stage for such an investigation and future posts will engage more fully with Fisher in his k-punk alias. For when I say the k-punk book is a big, fat book, I mean exactly that; if you include the index, it's 750 pages long and so, obviously, I can't be expected to perform the kind of close reading that I recently subjected Fisher's Capitalist Realism (2009) to.  
 
It took me four days to read through the less than ninety pages of that book and write a five-thousand-word, three-part post. At that rate, it would take me over a month to work line-by-line through K-punk and, frankly, as much as Fisher is a fascinating writer, I don't have that level of interest, stamina, or dedication (certainly not when the sun is shining). 
 
What's more, it would be disrespectful to Fisher to pretend that I could provide a definitive overview or, worse, place his thinking in a nutshell. So, all I'll do - for now at least - is simply share some thoughts on the foreword by Simon Reynolds and the introduction by the book's editor, Darren Ambrose. 
 
 
II.
 
I can only hope that, when I'm dead, I have a friend like Simon Reynolds to say something kind and insightful about me and my work. Clearly, the latter misses his friend and the chance to converse with him on a wide range of subjects: 
 
"There are many days when I wonder what Mark would say about this or that [...] the clarity he could bring to almost anything [...] I miss Mark's mind. It's a lonely feeling." (7)    
 
I was pleased to be reminded that Fisher's worldview - certainly in the days when he belonged to the band D-Generation - was shaped by punk and a love-hate relationship with Englishness. That makes it easier for me to feel affection for Fisher. As does the fact that he so effectively dissolved the distinction between popular culture and high art, as well as that between philosophy, politics and literature: 
 
"Often, and most crucially, Mark wrote about many - sometimes all - of these things at the same time. Making connections across far-flung fields, zooming in for vivid attention to aesthetic particulars and zooming out again to the widest possible scope [...]" (2) 
    
However, I'm not quite so comfortable with the idea that he had a total vision and that his ideas were heading somewhere; that a "gigantic edifice of thought was in the process of construction" (3). But we can let Fisher's modernist ambitions pass for the moment, even if it's a crucial point of difference between the two of us: Fisher the grand architect and systematiser; me a believer in the ruins and advocate of chaos.  
 
He and I may share a certain writing style - "rigorous and deeply informed" (3), but non-academic. But whereas the "urgency in Mark's prose came from his faith that words really could change things" (3), I have no such faith (as a nihilist, I have little time for progressive optimism). 
 
And whilst Fisher wants to make "everything feel more meaningful, supercharged with significance" (3), I want to void everything of meaning and hollow out all substance and significance.  
 
In other words, despite a certain degree of affection, I wouldn't say Fisher and I were comrades-in-arms. And, despite some uncanny similarities, I wouldn't say we were brothers under the skin. I think he and I would have been, at best, respectful frenemies had we ever known one another [g]. 
  
That said, I very much look forward to reading his k-punk posts to see if they're as provocatively brilliant and as fizzing with fervour as Reynolds insists. And I'll endeavour to read them in a good spirit, although, as Reynolds points out, there's always an undercurrent of competition between writers and "severity towards 'the opposition' is the mark of seriousness, a sign that something is at stake and that differences are worth fighting over" (5) [h].
 
 
III. 
 
I think my ambivalence toward Fisher is, then, already pretty clear ... 
 
On the one hand, I admire the fact that he was not - and never wanted to be - "a conventional academic writer, theorist or critic" (9); that his writing was, as Darren Ambrose says, "too abrasive, polemical, lucid, unsentimental, personal, insightful and compelling for that" (9). 
 
But, on the other hand, I am far more sympathetic to the postmodernism that a great deal of his writing was "undertaken in vehement opposition to" (9) [i]. I prefer irony to sincerity and would wish to curb Fisher's enthusiasm and grand ambition to invent the future and reshape human experience. I mean, c'mon, Mark: wtf d'you think you are? (You're not the Messiah, you're just a very clever boy.)       
 
I may say I wish to torpedo the ark, but I'm aware that I'm never going to be able to sink the bloody thing with just a few smart lines written in a short post; mostly, one blogs so as to be able to explore one's own obsessions and refine one's own writing style - as is recognised by Ambrose, with reference to Fisher:
 
"k-punk posts encapsulated an intellectual moment of reflection on the world: they are responsive, immediate, and provide an affectively charged perspective." (10)
 
But they're not going to bring about the Revolution or provide a path to Utopia. Ambrose may find in Fisher's work "reasons for continuing, against the odds, to hope for an alternative to the dystopian present" (11), but I'll be happy if the k-punk posts occasionally provide an amusing idea or clever turn of phrase. 
 
A bit like Nietzsche's Will to Power, surely Fisher's blog remains first and foremost a space for thinking the thought from outside - nothing elseThat is to say, thinking a type of thought that stands in contrast to the interiority of most philosophical reflection and the positivity of our scientific knowledge; a type of thought that we find not in mysticism, but in that hybrid genre known as theory-fiction.
 
As Ambrose writes, Fisher had a strong commitment to "fugitive discourses which have been legitimated by neither the official channels of the establishment [...] or traditional forms of publishing" (11). That, again, is something on which he and I are in accord and whilst Fisher's loyalty is to Spinoza and Kafka - mine more to Nietzsche and Lawrence - we agree that "it was the greatest pity in the world, when philosophy and fiction got split" [i].   
 
If anyone wants to find an alternative to capitalist realism, then let them read the above four authors; or let them read k-punk and/or Torpedo the Ark. You may not find any traces of acid communism in the latter [j], but there's a delicious poison (or pharmakon) seepig throughout (i.e., the playful production of différance).    
   
I said earlier that, after I'm dead, I hope I have as loyal a friend as Reynolds to say something kind and insightful about me and my work. But I hope also that TTA finds a posthumous editor as skilled and sensitive as Darren Ambrose, who does an excellent job in assembling Fisher's writings. 
 
If his aim was to "provide as comprehensive a picture as possible of the blog [...] by selecting pieces that reflect both its eclectic content, its theoretical pluralism and most of all its remarkable consistency" (15), then, from what I've read so far whilst flicking through the hundreds of pages, I think he's achieved that. 
 
Hopefully, Ambrose also manages to retain a sense of the posts immediacy and informality, despite the fact that the work has been abstracted from its original format and the very specific context of the blog. I guess I'm about to find out ...
  
  
Notes
 
[a] This work was edited by Darren Ambrose and has a Foreword by Simon Reynolds. All page references given in the post refer to this 2018 edition published by Repeater Books.    
 
[b] This was the title of a piece written shortly after Fisher's suicide and published in The Guardian (18 Jan 2017): click here to read online; or here to listen to an audio version on YouTube. 
 
[c] Whilst Fisher, born in July '68, was pure Gen X, I belong more to the tail end of the Boomers (or what some sociologists now call Generation Jones), having been born in 1963 (the same year as Simon Reynolds). This gives Fisher and myself slightly different perspectives and means, for example, whilst I experienced punk in real-time as a 14-year-old adolescent, Fisher came to it retrospectively via the hybrid forms of post-punk. 
 
[d] Simon Reynolds, 'Mark Fisher's k-punk blogs were required reading for a generation', see link above. 

[e] Ibid
 
[f] As mentioned, Fisher and I remained complete strangers to one another at Warwick and whilst he was a core member of the Ccru, I couldn't make head-or-tail of the wilfully hermetic publication ***collapse, even though I once contributed some artwork to it and was on amiable terms with Nick Land, who oversaw my progress as a doctoral student in the philosophy department, under Keith Ansell-Pearson's supervision.
 
[g] I agree with Reynolds that "it is this negative capacity - the strength of will to discredit and discard" (5) that keeps culture and criticism alive; "not wishy-washy tolerance and anything goes positivity" (5). As a philosopher, nothing is more important than to access nihilation
 
[h] Ambrose praises Fisher for his "exemplary antipathy and negativity towards PoMo hyper-ironic posturing" - see his introduction, k-punk (2018), p. 12.   
 
[i] D. H. Lawrence, 'The Future of the Novel', in Study of Thomas Hardy and Other Essays, ed. Bruce Steele (Cambridge University Press, 1985), p. 154.    
 
[j] Acid Communism was the proposed title for a book Fisher was working on at the time of his death (by suicide) in 2017. According to the unfinished introduction, the promise of such a post-capitalist ideology was "a new humanity, a new seeing, a new thinking, a new loving" (p. 687) - that's not quite what's on offer on Torpedo the Ark ...  
 
 
This is essentially just an introductory post to a new series of posts inspired by Fisher's writings during the period 2004 - 2016, to be published intermittently over the coming months (that's the plan at least). For a second round of fire, click here.  
 
Regular readers will be aware that I have previously discussed Fisher's three published works - Capitalist Realism (2009), Ghosts of My Life (2014), and The Weird and the Eerie (2016) - on Torpedo the Ark in multi-part posts.
 
    

22 Apr 2026

Notes on Mark Fisher's Capitalist Realism (2009) 1: Chapters 1-3

Mark Fisher: Capitalist Realism 
(Zer0 Books, 2022) [a]
 
'The tiniest event can tear a hole in the grey curtain of reaction ... 
From a situation in which nothing can happen, 
suddenly anything is possible again.' 
 
 
I. 
 
It's arguable that since his death in 2017, Mark Fisher has gone from being merely a cult figure within certain academic circles to something resembling a posthumous spiritual leader to an entire generation; one who is "quoted feverishly by his disciples" [b]. 
 
That's not his fault, I suppose - I can't imagine Fisher would have wanted faithful followers forever asking themselves What would Mark think? when confronted with the latest political or cultural development. 
 
But we are where we are and the fact is that, today, Fisher has become an enormous cult and it amuses me to think of him doing his best Kenneth Williams impression up in Heaven, telling the angels of his status [c].
 
As one might imagine, there is an ever-increasing number of articles, essays, books, and films made about him and his work; particularly his seminal debut text, Capitalist Realism (2009), and it's this slim volume I would like to discuss here ... [d]  
 
 
II.  
 
The title of the opening chapter provides the book's tagline: "It's easier to imagine the end of the world than the end of capitalism." (1) 
 
It's a borrowed phrase by which Fisher refers to the fact that capitalism is more than an economic arrangement of society or a political ideology; that it has become a singular reality that is so all-encompassing that we mistake it for the natural order or inevitable way of the world. 
 
This, in turn, makes alternative models either unimaginable or seem foolish and utopian. 
 
It's a neat trick: though Wilde might say that capitalism's passing itself off as natural is merely an irritating political pose. 
 
Nevertheless, pose or not, it remains a huge problem for those who, like Fisher, want to bring about revolutionary change and a form of what he later calls acid communism - something which, apparently, will unleash post-capitalist desire, raise levels of consciousness, and reclaim the creative ideas and countercultural energies of the world before neoliberalism.       
 
For the record, I'm broadly sympathetic to this line of thinking. I don't accept the argument that capitalism is in fact natural and aligns with the human condition by fostering competition and the innate desire to trade, invest, own property and aspire to a materially more comfortable existence. 
 
Or, if this is in fact a valid argument, then, for me, it simply reinforces the Nietzschean idea that man is a bourgeois compromise and, as anti-humanist philosophers, we are obliged to value that which lies overman [e].    
 
Having said that, I'm a little more cautious - maybe even a little more liberal - than I was thirty years ago when developing my own politics of desire in the philosophy department at Warwick University [f], and just as I wince at some of the things I wrote then, so too do I cringe at some of the things in Fisher's book.
 
Capitalism may not be the same as the Real, but I seriously doubt there's anything particularly acidic (or in any way unmediated) about communism ...    
 
 
III. 
 
One of the pleasures of reading Fisher is that he doesn't seem to make any hard and fast distinction between fiction and theory, or the world of thought and that of feeling. 
 
I can see how this might irritate those readers who, like Jürgen Habermas, believe that the false assimilation of one enterprise to another robs both of their substance, purpose, and productivity [g], but, for me - as a lover of Nietzsche and Lawrence - I approve of this intertextual promiscuity. 
 
Like Fisher, I think that philosophy, the arts, and politics have a profound and congenial relation to one another and that the best writers are those who produce a text that is radically and openly figurative, drawing upon all manner of considerations; including those ideas and images found within popular culture that were previously regarded as unacceptable or irrelevant to serious critical debate.     
 
Fisher's devising of a highly idiosyncratic mode of accessible (but never simplistic) language in his writings - and its application to a wide variety of contemporary issues - is undoubtedly one of his strong points (and it's something I have tried to replicate in my own manner here on Torpedo the Ark).
 
The key thing is this: in Capitalist Realism Fisher is essentially trying to imagine an alternative reality principle; one that is capable of providing new forms of practice, new attitudes, and new historical possibilities - even if, by his own admission, "for most people under twenty in Europe and North America, the lack of alternatives to capitalism" (8) isn't really an issue. 
 
Further, he wants to provide an authentic sense of solidarity and community; to "fill the conditions of a collective enunciation that is lacking elsewhere", as Deleuze and Guattari would say [h]. For Fisher, it's not capital which is the essence of reality; but the complex and shifting world of relationships between people [i].
 
But - and this is what worries me - hasn't Fisher's book already succumbed to the fate that met Picasso's Guernica in Alfonso Cuarón's Children of Men (2006); the dystopian film that Fisher discusses in chapter 1?
 
That is to say, hasn't Capitalist Realism - "once a howl of anguish and outrage" (4) - simply morphed into another popular bestseller "accorded 'iconic' status" (4); just another cultural artefact available for free delivery with Amazon Prime? [j]
 
  
IV. 
 
Am I mistaken, or does Fisher hanker after something to believe in? 
 
That's a concern if true (and would explain how he ends up promoting acid communism). We will need to be on the lookout for signs of religiosity when (re-)reading through Capitalist Realism
 
Sadly for him, one of the things he can't believe in anymore is pop culture; the death of Kurt Cobain in 1994 "confirmed the defeat and incorporation of rock's utopian and promethean ambitions" (10) and as for hip-hop, well, that was pretty much stillborn and complicit with capitalist realism from the get-go. 
 
Likewise, movies and comic books became equally hopeless; a mixture of neoliberalism and neo-noir (although that's a pretty seductive combination if, like me, you happen to like Tarantino's Pulp Fiction and Frank Miller's Batman). 
 
 
V. 
 
Chapter 2 of Capitalist Realism poses an interesting question: 'What if you held a protest and everyone came?' 
 
Though it's perhaps a question that any teenager who ever decided to throw an open house party when their parents went away for the weekend might be able to answer. I refer readers to the 2012 teen comedy film directed by Nima Nourizadeh, Project X, which tells the story of three friends who attempt to gain popularity by throwing a party which then quickly escalates out of their control.   
 
I would remind readers also of Nietzsche's warning against the attempt to turn a subtle revolutionary idea into a mass movement by dumbing down one's philosophy and painting "great al fresco stupidities" [k] on the walls. 
 
I'm not saying this is what Fisher has done. But he does give the impression at times of being a political and social fantasist, inviting a revolutionary overturning of the global economy in the belief that "fair humanity will then rise up as though of its own accord" [l]. 
 
In such a dangerous (and delusional) dream, says Nietzsche, one hears "an echo of Rousseau's superstition, which believes in a miraculous primeval but as it were buried goodness of human nature and ascribes all the blame for this burying to the institutions of culture" [m].    
 
Unfortunately, history has taught us that whilst mass uprisings and revolutions can unleash "the most savage energies in the shape of the long-buried dreadfulness and excesses of the most distant ages" [n], they can neither perfect man nor society. 
 
That said, Fisher is smart and honest enough to recognise that the anti-capitalist protest movement - with its hysterical demand for the impossible - invariably just reinforces capitalism itself: "Protests have formed a kind of carnivalesque background noise to capitalist realism, and the anti-capitalist protests share rather too much with hyper-corporate events [...]" (14) 
 
Fisher particularly loathes Live 8 [o], which he describes as "a strange kind of protest; a protest that everyone could agree with" (14) and one which "the logic of the protest was revealed in its purest form" [14]; basically, a chance to scream at Daddy (or the Man). 
 
For it is "not capitalism but protest itself which depends upon this figuration of the Father" (14) and he explicitly tells his readers the harsh truth that they themselves are complicit "in planetary networks of oppression" (15) - even when pumping their fists in the air or singing along with Bono and the boys at Wembley. 
 
Fisher writes: 
 
"What needs to be kept in mind is both that capitalism is a hyper-abstract impersonal structure and that it would be nothing without our co-operation. The most Gothic description of Capital is also the most accurate. Capital is an abstract parasite, an insatiable vampire and zombie-maker; but the living flesh it converts into dead labour is ours, ad the zombies it makes are us." (15)
 
What this means, therefore, is that in order to reclaim real political agency, one must first of all accept one's "insertion at the level of desire in the remorseless meat-grinder" (15). 
 
This, for me, is Fisher at his most Landian - and I like it. His exposure of the myth that caring individuals "could end famine directly, without the need for any kind of political solution or systemic reorganisation" (15) - provided they bought the right products - is brutal and brilliant. 
 
 
VI. 
 
Chapter 3 returns us to the question of capitalism and the Real ... 
 
And a confession from Fisher that not only was the phrase about it being easier to imagine the end of the world than the end of capitalism not his - it was earlier used by both Fredric Jameson and Slavoj Žižek - but neither is the term capitalist realism an original coinage: 
 
"It was used as far back as the 1960s by a group of German Pop artists and by Michael Schudson in his 1984 book Advertising, The Uneasy Persuasion, both of whom were making parodic references to socialist realism." (16)  
 
I don't really have a problem with borrowings like this and, besides, Fisher doesn't just adopt the term, he ascribes a more expansive (and more exorbitant) meaning to it. For Fisher, capitalist realism "cannot be confined to art or to the quasi-propagandistic way in which advertising functions" (16). 
 
It is in fact, "more like a pervasive atmosphere, conditioning not only the production of culture but also the regulation of work and education, and acting as a kind of invisible barrier constraining thought and action" (16). 
 
Fisher at this point openly reveals his hand, in a crucial passage worth quoting:
 
"If capitalist realism is so seamless, and if current forms of resistance are so hopeless and impotent, where can an effective challenge come from? A moral critique of capitalism [...] only reinforces capitalist realism. Poverty, famine and war can be presented as an inevitable part of reality, while the hope that these forms of suffering could be eliminated easily painted as naive utopianism. Capitalist realism can only be threatened if it is shown to be in some way inconsistent or untenable; if, that is to say, capitalism's ostensible 'realism' turns out to be nothing of the sort." (16)
 
Quite simply, I don't agree with that. I don't think it makes much difference whether capitalism is consistent or inconsistent, real or false - any more than whether God is an actual entity or virtual being. Marxists have been droning on for years about the many internal contradictions of capitalism and how these would one day trigger a crisis from which it would be impossible to recover - and yet, here we are.
 
Unfortunately for those who pin their hopes on this idea, contradictions have not caused a terminal collapse because the system is highly adaptive and able to stumble on from one crises to the next, sustaining production and restoring profitability, even without ever resolving the underlying issues (such as massive inequality).  
 
The masses are not going to be spurred into revolutionary action when it is revealed to them that capitalism is a fraud, anymore than the faithful simply abandoned God following the announcement of his death. Nietzsche famously concedes that God's posthumous shadow or ghost would be encountered for thousands of years, meaning humanity would continue to uphold the same moral values long after faith in the existence and authority of an actual deity had vanished (that's why the revaluation he called for will not happen overnight) [p]. 
 
Similarly, the overcoming of capitalism isn't as easy as simply revealing its structural inconsistencies and internal conflicts. Perhaps it will even require the kind of accelerationism that Fisher probably subscribed to when under the influence of Nick Land during his days at Warwick and involvement with the Ccru (Cybernetic culture research unit).       
 
In other words, perhaps the revolutionary path is not to withdraw from the global economy into private fantasy or try to simply side-step the coldest of all cold monsters like a crab, but accelerate the forces that the market economy has itself unleashed:
 
"To go still further, that is, in the movement of the market, of decoding and deterritorialization. For perhaps the flows are not yet deterritorialized enough, not decoded enough, from the viewpoint of a theory and practice of a highly schizophrenic character." [q]        
 
From the viewpoint, that is, of the theory and practice developed by Deleuze and Guattari - writing here in Anti-Oedipus (1972) - who argue that, through its process of production, capitalism "produces an awesome schizophrenic accumulation of energy" [r], which it is obliged to repress but which, nevertheless, continues to act as capitalism's external (and absolute) limit.   
 
The task, therefore, is to accelerate the process, so that capitalism can no longer bind these schizo-revolutionary forces and flows which it has itself unleashed. Capitalism, like all great historical systems, will thus "perish more as a result of its successes than its failures" [s] or its contradictions. Admittedly, however, this is a risky (potentially fatal) strategy that will require an exterminating angel who scrambles all the codes.    
 
 
VII. 
 
Finally, we return to the idea of the Real ...
 
Fisher is right to say that "what counts as 'realistic', what seems possible at any point in the social field, is defined by a series of political determinations" (16). And that the real trick, as we noted earlier, was to naturalise ideological values, magically transforming values into facts. 
 
"As any number of radical theorists [...] have maintained, emancipatory politics must always destroy the appearance of a 'natural order', must reveal what is presented as necessary and inevitable to be a mere contingency [...]" (16)  
 
In other words, radical theorists wish to give the game away - to pull back the curtain, like Toto the dog; or, if you prefer a recent cinematic reference, convince others to pop a red pill. The problem, of course, is that most people, given the choice, prefer blissful ignorance and eating virtual steaks. 
 
Who wants the Real - "a traumatic void that can only be glimpsed in fractures" (18) - if it provides none of the comforts of reality - if it risks making one even more depressed (and impoverished) than the illusory world of capitalist realism?  
 
  
Notes
 
[a] This is the most recent edition of Fisher's seminal text published in 2009. It comes with a Foreword by Zoe Fisher, an Introduction by Alex Niven, and an Afterword by Tariq Goddard. All page numbers given in this post refer to this edition.
 
[b] Rosa Abbott, writing in a post titled 'Ghosts of Mark Fisher' (5 Feb 2021), published on her Bad Taste Substack: click here.
 
[c] I'm referring here to Williams's hilarious interview with Terry Wogan in which he declared himself to be an enormous cult (Wogan BBC TV): click here and go to 1:49. 
 
[d] For some reason, I have resisted doing so until now, despite having previously written about two other books completed by him; Ghosts of My Life (2014) and The Weird and the Eerie (2017) - click here and/or here
 
[e] I'm not familiar enough with Fisher's reading of Nietzsche to know for sure how he relates the idea of the Übermensch to his own political thinking (or if he did so). One assumes that he would interpret the concept in communal rather than individualistic terms (i.e., as the realisation of a collectively imagined future that breaks the spell of the capitalist realism and the perpetual present).     
 
[f] Whilst Fisher and I were both doing doctoral research in the philosophy dept. at Warwick in the 1990s - he completed his PhD on cybernetic theory-fiction in 1999 and I submitted my study of Nietzsche-Lawrence-Deleuze the following year - we didn't know one another, nor, I believe, ever cross paths. He was far more involved with the Cybernetic Culture Research Unit (Ccru) than I was, even though Nick Land was overseeing my progress in 1994-95. 
 
[g] See Jürgen Habermas, The Philosophical Discourse of Modernity, trans. Frederick Lawrence (Polity Press, 1994), p. 210.  
 
[h] Gilles Deleuze and Félix Guattari, Kafka: Toward a Minor Literature, trans. Dana Polan (University of Minnesota Press, 1997), p. 18.   
 
[i] As Alex Niven writes in his Introduction: "At its most basic level, whatever political and theoretical nuances it might otherwise have implied [Capitalist Realism ...] was a book which called for a joining of human hands." [xiv] 
 
[j] This isn't, of course, Fisher's fault; he himself noted that capitalist realism works by rapidly absorbing dissent and neutralising it. And maybe I'm being unduly pessimistic; people on the left still insist the book remains relevant and its central argument remains valid (even if it is not the key to unlocking the future that some had once hoped). To date, Capitalist Realism has sold over 250,000 copies and it has been translated into many different languages.    
 
[k] Nietzsche, Human, All Too Human, trans. R. J. Hollingdale (Cambridge University Press, 1993), I. 8. 438, p. 161. Nietzsche goes on to quote Voltaire at this point: Quand la populace se mêle de raisonner, tout est perdu ... 
 
[l] Ibid., I. 8. 463, p. 169.  
 
[m] Ibid
 
[n] Ibid
 
[o] Live 8 was a string of benefit concerts that took place in July 2005, in the G8 states and South Africa, marking the 20th anniversary of Live Aid. The call was to make poverty history. More than a thousand musicians performed at the concerts, which were broadcast on 182 television networks and two thousand radio networks. The BBC estimated the global audience to be around 1.5 billion. 
 
[p] See Nietzsche, The Gay Science, III. 108. 
 
[q] Deleuze and Guattari, Anti-Oedipus, trans. Robert Hurley et al (The Athlone Press, 1994), p. 239.  
 
[r] Ibid., p. 246.
 
[s] Keith Ansell-Pearson, Viroid Life (Routledge, 1997), p. 178. 
 
 
Parts two of this post can be accessed by clicking here
 
Part three of this post can be accessed by clicking here.