Narratives produce the ties that bind us. They create community, eliminate contingency and anchor us in being.  And yet in our contemporary information society, where everything has become arbitrary and random, storytelling shouts out loudly but narratives no longer have their binding force.  Whereas narratives create community, storytelling brings forth only a fleeting community – the community of consumers.  No amount of storytelling could recreate the fire around which humans gather to tell each other stories. That fire has long since burnt out.  It has been replaced by the digital screen, which separates people as individual consumers.  Through storytelling, capitalism appropriates narrative: stories sell. Storytelling is storyselling.  The inflation of storytelling betrays a need to cope with contingency, but storytelling is unable to transform the information society back into a stable narrative community. Rather, storytelling is a pathological phenomenon of our age. Byung-Chul Han, one of the most perceptive cultural theorists of the information society, dissects this crisis with exceptional insight and flair.

In our busy and hurried lives, we are losing the ability to be inactive.  Human existence becomes fully absorbed by activity – even leisure, treated as a respite from work, becomes part of the same logic.  Intense life today means first of all more performance or more consumption. We have forgotten that it is precisely inactivity, which does not produce anything, that represents an intense and radiant form of life. For Byung-Chul Han, inactivity constitutes the human.  Without moments of pause or hesitation, acting deteriorates into blind action and reaction. When life follows the rule of stimulus–response and need–satisfaction, it atrophies into pure survival: naked biological life. If we lose the ability to be inactive, we begin to resemble machines that simply function. True life begins when concern for survival, for the exigencies of mere life, ends. The ultimate purpose of all human endeavour is inactivity. In a beautifully crafted ode to the art of being still, Han shows that the current crisis in our society calls for a very different way of life: one based on the vita contemplativa. He pleads for bringing our ceaseless activities to a stop and making room for the magic that happens in between. Life receives its radiance only from inactivity.

Our competitive, service-oriented societies are taking a toll on the late-modern individual. Rather than improving life, multitasking, "user-friendly" technology, and the culture of convenience are producing disorders that range from depression to attention deficit disorder to borderline personality disorder. Byung-Chul Han interprets the spreading malaise as an inability to manage negative experiences in an age characterized by excessive positivity and the universal availability of people and goods. Stress and exhaustion are not just personal experiences, but social and historical phenomena as well. Denouncing a world in which every against-the-grain response can lead to further disempowerment, he draws on literature, philosophy, and the social and natural sciences to explore the stakes of sacrificing intermittent intellectual reflection for constant neural connection.

Zen Buddhism is a form of Mahayana Buddhism that originated in China and is strongly focused on meditation. It is characteristically sceptical towards language and distrustful of conceptual thought, which explains why Zen Buddhist sayings are so enigmatic and succinct. But despite Zen Buddhism's hostility towards theory and discourse, it is possible to reflect philosophically on Zen Buddhism and bring out its philosophical insights. In this short book, Byung-Chul Han seeks to unfold the philosophical force inherent in Zen Buddhism, delving into the foundations of Far Eastern thought to which Zen Buddhism is indebted. Han does this comparatively by confronting and contrasting the insights of Zen Buddhism with the philosophies of Plato, Leibniz, Fichte, Hegel, Schopenhauer, Nietzsche, Kierkegaard, Heidegger and others, showing that Zen Buddhism and Western philosophy have very different ways of understanding religion, subjectivity, emptiness, friendliness and death. This important work by one of the most widely read philosophers and cultural theorists of our time will be of great value to anyone interested in comparative philosophy and religion.

Transparency is the order of the day. It is a term, a slogan, that dominates public discourse about corruption and freedom of information. Considered crucial to democracy, it touches our political and economic lives as well as our private lives. Anyone can obtain information about anything. Everything-and everyone-has become transparent: unveiled or exposed by the apparatuses that exert a kind of collective control over the post-capitalist world. Yet, transparency has a dark side that, ironically, has everything to do with a lack of mystery, shadow, and nuance. Behind the apparent accessibility of knowledge lies the disappearance of privacy, homogenization, and the collapse of trust. The anxiety to accumulate ever more information does not necessarily produce more knowledge or faith. Technology creates the illusion of total containment and the constant monitoring of information, but what we lack is adequate interpretation of the information. In this manifesto, Byung-Chul Han denounces transparency as a false ideal, the strongest and most pernicious of our contemporary mythologies.

Narratives produce the ties that bind us. They create community, eliminate contingency and anchor us in being.  And yet in our contemporary information society, where everything has become arbitrary and random, storytelling shouts out loudly but narratives no longer have their binding force.  Whereas narratives create community, storytelling brings forth only a fleeting community – the community of consumers.  No amount of storytelling could recreate the fire around which humans gather to tell each other stories. That fire has long since burnt out.  It has been replaced by the digital screen, which separates people as individual consumers.  Through storytelling, capitalism appropriates narrative: stories sell. Storytelling is storyselling.  The inflation of storytelling betrays a need to cope with contingency, but storytelling is unable to transform the information society back into a stable narrative community. Rather, storytelling is a pathological phenomenon of our age. Byung-Chul Han, one of the most perceptive cultural theorists of the information society, dissects this crisis with exceptional insight and flair.

In our busy and hurried lives, we are losing the ability to be inactive.  Human existence becomes fully absorbed by activity – even leisure, treated as a respite from work, becomes part of the same logic.  Intense life today means first of all more performance or more consumption. We have forgotten that it is precisely inactivity, which does not produce anything, that represents an intense and radiant form of life. For Byung-Chul Han, inactivity constitutes the human.  Without moments of pause or hesitation, acting deteriorates into blind action and reaction. When life follows the rule of stimulus–response and need–satisfaction, it atrophies into pure survival: naked biological life. If we lose the ability to be inactive, we begin to resemble machines that simply function. True life begins when concern for survival, for the exigencies of mere life, ends. The ultimate purpose of all human endeavour is inactivity. In a beautifully crafted ode to the art of being still, Han shows that the current crisis in our society calls for a very different way of life: one based on the vita contemplativa. He pleads for bringing our ceaseless activities to a stop and making room for the magic that happens in between. Life receives its radiance only from inactivity.

An argument that love requires the courage to accept self-negation for the sake of discovering the Other. Byung-Chul Han is one of the most widely read philosophers in Europe today, a member of the new generation of German thinkers that includes Markus Gabriel and Armen Avanessian. In The Agony of Eros, a bestseller in Germany, Han considers the threat to love and desire in today's society. For Han, love requires the courage to accept self-negation for the sake of discovering the Other. In a world of fetishized individualism and technologically mediated social interaction, it is the Other that is eradicated, not the self. In today's increasingly narcissistic society, we have come to look for love and desire within the "inferno of the same." Han offers a survey of the threats to Eros, drawing on a wide range of sources-Lars von Trier's film Melancholia, Wagner's Tristan und Isolde,Fifty Shades of Grey, Michel Foucault (providing a scathing critique of Foucault's valorization of power), Martin Buber, Hegel, Baudrillard, Flaubert, Barthes, Plato, and others. Han considers the "pornographication" of society, and shows how pornography profanes eros; addresses capitalism's leveling of essential differences; and discusses the politics of eros in today's "burnout society." To be dead to love, Han argues, is to be dead to thought itself. Concise in its expression but unsparing in its insight, The Agony of Eros is an important and provocative entry in Han's ongoing analysis of contemporary society. This remarkable essay, an intellectual experience of the first order, affords one of the best ways to gain full awareness of and join in one of the most pressing struggles of the day: the defense, that is to say-as Rimbaud desired it-the "reinvention" of love. -from the foreword by Alain Badiou

Byung-Chul Han, a star of German philosophy, continues his passionate critique of neoliberalism, trenchantly describing a regime of technological domination that, in contrast to Foucault's biopower, has discovered the productive force of the psyche. In the course of discussing all the facets of neoliberal psychopolitics fueling our contemporary crisis of freedom, Han elaborates an analytical framework that provides an original theory of Big Data and a lucid phenomenology of emotion. But this provocative essay proposes counter models too, presenting a wealth of ideas and surprising alternatives at every turn.

Tracing the thread of "decreation" in Chinese thought, from constantly changing classical masterpieces to fake cell phones that are better than the original. Shanzhai is a Chinese neologism that means "fake," originally coined to describe knock-off cell phones marketed under such names as Nokir and Samsing. These cell phones were not crude forgeries but multifunctional, stylish, and as good as or better than the originals. Shanzhai has since spread into other parts of Chinese life, with shanzhai books, shanzhai politicians, shanzhai stars. There is a shanzhai Harry Potter: Harry Potter and the Porcelain Doll, in which Harry takes on his nemesis Yandomort. In the West, this would be seen as piracy, or even desecration, but in Chinese culture, originals are continually transformed-deconstructed. In this volume in the Untimely Meditations series, Byung-Chul Han traces the thread of deconstruction, or "decreation," in Chinese thought, from ancient masterpieces that invite inscription and transcription to Maoism-"a kind a shanzhai Marxism," Han writes. Han discusses the Chinese concepts of quan, or law, which literally means the weight that slides back and forth on a scale, radically different from Western notions of absoluteness; zhen ji, or original, determined not by an act of creation but by unending process; xian zhan, or seals of leisure, affixed by collectors and part of the picture's composition; fuzhi, or copy, a replica of equal value to the original; and shanzhai. The Far East, Han writes, is not familiar with such "pre-deconstructive" factors as original or identity. Far Eastern thought begins with deconstruction.

A philosopher considers entertainment, in all its totalizing variety-infotainment, edutainment, servotainment-and traces the notion through Kant, Zen Buddhism, Heidegger, Kafka, and Rauschenberg. In Good Entertainment, Byung-Chul Han examines the notion of entertainment-its contemporary ubiquity, and its philosophical genealogy. Entertainment today, in all its totalizing variety, has an apparently infinite capacity for incorporation: infotainment, edutainment, servotainment, confrontainment. Entertainment is held up as a new paradigm, even a new credo for being-and yet, in the West, it has had inescapably negative connotations. Han traces Western ideas of entertainment, considering, among other things, the scandal that arose from the first performance of Bach's Saint Matthew's Passion (deemed too beautiful, not serious enough); Kant's idea of morality as duty and the entertainment value of moralistic literature; Heidegger's idea of the thinker as a man of pain; Kafka's hunger artist and the art of negativity, which takes pleasure in annihilation; and Robert Rauschenberg's refusal of the transcendent. The history of the West, Han tells us, is a passion narrative, and passion appears as a killjoy. Achievement is the new formula for passion, and play is subordinated to production, gamified. And yet, he argues, at their core, passion and entertainment are not entirely different. The pure meaninglessness of entertainment is adjacent to the pure meaning of passion. The fool's smile resembles the pain-racked visage of Homo doloris. In Good Entertainment, Han explores this paradox.

A prominent German thinker argues that-contrary to "Twitter Revolution" cheerleading-digital communication is destroying political discourse and political action. The shitstorm represents an authentic phenomenon of digital communication. -from In the Swarm Digital communication and social media have taken over our lives. In this contrarian reflection on digitized life, Byung-Chul Han counters the cheerleaders for Twitter revolutions and Facebook activism by arguing that digital communication is in fact responsible for the disintegration of community and public space and is slowly eroding any possibility for real political action and meaningful political discourse. In the predigital, analog era, by the time an angry letter to the editor had been composed, mailed, and received, the immediate agitation had passed. Today, digital communication enables instantaneous, impulsive reaction, meant to express and stir up outrage on the spot. "The shitstorm," writes Han, "represents an authentic phenomenon of digital communication." Meanwhile, the public, the senders and receivers of these communications have become a digital swarm-not a mass, or a crowd, or Negri and Hardt's antiquated notion of a "multitude," but a set of isolated individuals incapable of forming a "we," incapable of calling dominant power relations into question, incapable of formulating a future because of an obsession with the present. The digital swarm is a fragmented entity that can focus on individual persons only in order to make them an object of scandal. Han, one of the most widely read philosophers in Europe today, describes a society in which information has overrun thought, in which the same algorithms are employed by Facebook, the stock market, and the intelligence services. Democracy is under threat because digital communication has made freedom and control indistinguishable. Big Brother has been succeeded by Big Data.