Étienne Balibar writes that today we are at the end of capitalism. This is not because capitalism has run its course or has met an irresistible force, but because there can be no purer form of capitalism than the one we have today. Taking seriously the idea that this strain of capitalism has not only seized the urban environment but is the urban environment, works by Michael Moorcock, Iain Sinclair, Penelope Lively, Peter Ackroyd, and J.G. Ballard are read as representative of a loosely allied group of London writers who have anticipated, critiqued, and offered up various avenues of resistance to the deleterious effects of this most vigorous strain of capitalism.

Writing on the city by charting a politics of reconnection to the real that necessarily unsettles the epistemological and ontological ground upon which both modernity and capitalism sit, this stable of writers makes clear the ways in which the sheer materiality of the urban environment profoundly influences the being and thinking of individuals. In so doing, these writers produce works which when read together give the coordinates of an altermodernity that might just allow capitalism to reach its final conclusion.

Étienne Balibar writes that today we are at the end of capitalism. This is not because capitalism has run its course or has met an irresistible force, but because there can be no purer form of capitalism than the one we have today. Taking seriously the idea that this strain of capitalism has not only seized the urban environment but is the urban environment, works by Michael Moorcock, Iain Sinclair, Penelope Lively, Peter Ackroyd, and J.G. Ballard are read as representative of a loosely allied group of London writers who have anticipated, critiqued, and offered up various avenues of resistance to the deleterious effects of this most vigorous strain of capitalism.

Writing on the city by charting a politics of reconnection to the real that necessarily unsettles the epistemological and ontological ground upon which both modernity and capitalism sit, this stable of writers makes clear the ways in which the sheer materiality of the urban environment profoundly influences the being and thinking of individuals. In so doing, these writers produce works which when read together give the coordinates of an altermodernity that might just allow capitalism to reach its final conclusion.

This book works to delineate some of the major routes by which science and art intersect. Structured according to the origin myths of the posthuman that continue to shape the idea of the human in our technological modernity, this volume gives space to narratives of alter-modernity that resonate with Ursula K. Le Guin’s call for a new kind of story which exposes the violence and exploitation driven by a sustained belief in human exceptionalism, anthropocentrism, and cultural superiority. In this context, the posthuman myths of multispecies flourishing given in this collection, which are situated across a range of historical times and locations, and media and modalities, are to be thought of as kernels of possible futures that can only be realized through collective endeavour.

This book works to delineate some of the major routes by which science and art intersect. Structured according to the origin myths of the posthuman that continue to shape the idea of the human in our technological modernity, this volume gives space to narratives of alter-modernity that resonate with Ursula K. Le Guin’s call for a new kind of story which exposes the violence and exploitation driven by a sustained belief in human exceptionalism, anthropocentrism, and cultural superiority. In this context, the posthuman myths of multispecies flourishing given in this collection, which are situated across a range of historical times and locations, and media and modalities, are to be thought of as kernels of possible futures that can only be realized through collective endeavour.

Étienne Balibar writes that today we are at the end of capitalism. This is not because capitalism has run its course or has met an irresistible force, but because there can be no purer form of capitalism than the one we have today. Taking seriously the idea that this strain of capitalism has not only seized the urban environment but is the urban environment, works by Michael Moorcock, Iain Sinclair, Penelope Lively, Peter Ackroyd, and J.G. Ballard are read as representative of a loosely allied group of London writers who have anticipated, critiqued, and offered up various avenues of resistance to the deleterious effects of this most vigorous strain of capitalism.

Writing on the city by charting a politics of reconnection to the real that necessarily unsettles the epistemological and ontological ground upon which both modernity and capitalism sit, this stable of writers makes clear the ways in which the sheer materiality of the urban environment profoundly influences the being and thinking of individuals. In so doing, these writers produce works which when read together give the coordinates of an altermodernity that might just allow capitalism to reach its final conclusion.

Étienne Balibar writes that today we are at the end of capitalism. This is not because capitalism has run its course or has met an irresistible force, but because there can be no purer form of capitalism than the one we have today. Taking seriously the idea that this strain of capitalism has not only seized the urban environment but is the urban environment, works by Michael Moorcock, Iain Sinclair, Penelope Lively, Peter Ackroyd, and J.G. Ballard are read as representative of a loosely allied group of London writers who have anticipated, critiqued, and offered up various avenues of resistance to the deleterious effects of this most vigorous strain of capitalism.

Writing on the city by charting a politics of reconnection to the real that necessarily unsettles the epistemological and ontological ground upon which both modernity and capitalism sit, this stable of writers makes clear the ways in which the sheer materiality of the urban environment profoundly influences the being and thinking of individuals. In so doing, these writers produce works which when read together give the coordinates of an altermodernity that might just allow capitalism to reach its final conclusion.

This book works to delineate some of the major routes by which science and art intersect. Structured according to the origin myths of the posthuman that continue to shape the idea of the human in our technological modernity, this volume gives space to narratives of alter-modernity that resonate with Ursula K. Le Guin’s call for a new kind of story which exposes the violence and exploitation driven by a sustained belief in human exceptionalism, anthropocentrism, and cultural superiority. In this context, the posthuman myths of multispecies flourishing given in this collection, which are situated across a range of historical times and locations, and media and modalities, are to be thought of as kernels of possible futures that can only be realized through collective endeavour.

This book works to delineate some of the major routes by which science and art intersect. Structured according to the origin myths of the posthuman that continue to shape the idea of the human in our technological modernity, this volume gives space to narratives of alter-modernity that resonate with Ursula K. Le Guin’s call for a new kind of story which exposes the violence and exploitation driven by a sustained belief in human exceptionalism, anthropocentrism, and cultural superiority. In this context, the posthuman myths of multispecies flourishing given in this collection, which are situated across a range of historical times and locations, and media and modalities, are to be thought of as kernels of possible futures that can only be realized through collective endeavour.