Mute proudly present the first issue of Volume 3 of their imprint. This new biannual edition contains 175 pages of writing and colour illustrations placed broadly under the banner of 'double negative feedback'. Included in this relaunched issue: Mute's response to the Arts Cuts; an Obituary for the much missed radical film-maker Noreen (Noni) MacDowell; Owen Hatherley on Zaha Hadid and the neo-liberal avant-garde; Eugene Thacker on the passionate divas of Italian silent cinema; Lars bang Larsen on anti-disciplinary feedback; Anna Dezeuze on contemporary art in the age of weightless capital; John Barker on junkie-capitalism; Demetra Kotouza on the rebel sounds of rebetiko; an Anthony Iles interview with artist Graham Harwood; Howard Slater on jazz and compositional improvising; Felix Stadler on wiki-leaks; Omar el-Khairy on Andrea Dunbar; Artist Project by Mimi Leung and more. 'We Gladly Feast On Those Who Would Subdue Us'.

As the Creative City model for urban regeneration founders, Anthony Iles and Josephine Berry Slater take stock of an era of highly instrumentalised public art making. Focusing on artists and consultants who have engaged critically with the exclusionary politics of urban regeneration, their analysis locates such practice within a schematic history of urban development's neoliberal mode. Breaking down into a report and collection of interviews, this investigation consistently focuses on the possibility and forms of critical public art within a regime that fetishises 'creativity'. How, they ask, is critical art shaped by its interaction with this aspect of biopolitical governance? Featuring projects and interviews with Alberto Duman, Freee, Nils Norman, Laura Oldfield Ford and Roman Vasseur.

Manifesto for a Theory of the 'New Aesthetic' - An irreverent guided tour of the 'New Aesthetic' by Curt Cloninger, The Missing Factory - John Roberts considers why work remains absent from film and culture more generally, Barbara Says - Industry Does it Faster - Roman Vasseur reviews the Artist Placement Group's historic brokerage of bureaucracy and art, The Ghosts of Participation Past - Josephine Berry Slater reviews Claire Bishop's recent book, Artificial Hells, Listener As Operator 3 - Howard Slater finds in jazz a response to the experience of slavery which preserves and propels a collective being, Untitled #M001 - #M011 2,325,600 combinations of 16 grays an artist's project by John Houck, Gaming the Plumbing - Alberto Toscano inspects the gap between financial fantasies and the muddy realities of the 'robot phase transition', Destructive Destruction? - How is high frequency trading's drive to efficiency affecting market dynamics as a whole? Ask Inigo Wilkinson and Bogan Dragos, Fellowship of the Wrong - A code-splitting tale of lightspeed trading run by Benedict Seymour, with illustrations by Rona Tunnadine, The Guest - A short story by Mira Mattar exploring the annihilating power of luxury, The Garden of Earthly Delights - Matthew Fuller wades through the Olympic muck to visit The Crystal World, At the Limit: Self-Organisation in Greece - Anna O'Lory of Blaumachen identifies some limits to current struggles in Greece, Whose Rebel City? - Neil Gray discusses David Harvey's Rebel Cities from the perspective of the autonomous urban struggles of '70s Italy

Arab Spring. Greece. Uk Riots. Logistics. Writing by Sarah Taylor, Alberto Toscano, Mark Neocleous, Benjamin Noys, Howard Slater, Stefan Szczelkun, Anustup Basu, The Khalid Qureshi Foundation, Demetra Kotouza, Mme Tlank & Mira Mattar, Brian Ashton, Sander and Gail Day.

Edited by Clemens Apprich, Josephine Berry Slater, Anthony Iles and Oliver Lerone Schultz Felix Guattari's visionary term 'post-media', coined in 1990, heralded a break with mass media's production of conformity and the dawn of a new age of media from below. Understanding how digital convergence was remaking television, film, radio, print and telecommunications into new, hybrid forms, he advocated the production of 'enunciative assemblages' that break with the manufacture of normative subjectivities. In this anthology, historical texts are brought together with newly commissioned ones to explore the shifting ideas, speculative horizons and practices associated with post- media. In particular, the book seeks to explore what post- media practice might be in light of the commodification and homogenisation of digital networks in the age of Web 2.0, e-shopping and mass surveillance. With texts by: Adilkno, Clemens Apprich, Brian Holmes, Alejo Duque, Felipe Fonseca, Gary Genosko, Michael Goddard, Felix Guattari, Cadence Kinsey, Oliver Lerone Schultz, Rasa Smite & Raitis Smits, and Howard Slater Part of the PML Books series. A collaboration between Mute & the Post-Media Lab

In less than two decades, digital networks have moved from providing a macro background environment - actively accessible by only a small coterie of scientists, experts, and state or corporate agents - to pervading and augmenting our lives at an increasingly micrological level. As our world is plugged into the matrix, we know from direct experience that the pace of change is feverish, the scope infinite and the effects in need of constant reckoning. The Post-Media Lab offers a space in which to examine, reflect and operate upon the networked, mediatised society from an unhurried perspective. We seek to slow down the machinic pace of 'cybertime' just enough to allow for a different tempo of thought to engage and encompass it. Through a programme of four bi-annual residency cycles spanning 2012 and 2013, the Lab has provided participants (artists, technologists, film-makers, activists, cultural/media theorists) with the practical and intellectual support and resources to build real-world, aesthetic, technical or theoretical assemblages which operate acutely on the interface between digital networks and social and political life.

They should be understood as part of the more gradual process of what George Caffentzis, in his analysis of the international situation, calls the 'breakdown of the edu-deal'; the inability for capital, and therefore the state, to pay for the costs of producing a well educated workforce or to guarantee that investment in education will result in a more vigorous economy and increased living standards for those with qualifications. This breakdown, and the dogmatism of free market economics which seeks to alleviate it, has seen the imposition of a business rationale onto what previously had been regarded as the provision of a public service, sometimes even a public good in the UK and across Europe. From the investment of endowment funds on the market, to the conversion of students into (badly ripped off) consumers, to the no-frills fixed-term contracts being doled out to staff, to the speculative purchase of the future IP generated by scientific and technical departments, to the intended exchangeability of all qualifications under the Bologna Process, education is being ever more deeply determined by free market principles. With the ground changing this fast under staff and students' feet, the ability for collective action to fight the savage rounds of cuts has itself suffered as a result of a generalised precarity and fragmentation. Mute's interview with two organisers of last summer's strike at Tower Hamlets College reminds us that attacks on education workers and students are not soley motivated by financial concerns, but also comprise an attack on our working culture (our rights, values and expectations more generally). Despite the hostile conditions, we have nevertheless seen a persistent and recently growing wave of strikes, actions and occupations, both wildcat and union co-ordinated, breaking out around the world. Sixth formers, students, staff and those with a less personal stake in education are uniting in a new plane of struggle. However, a number of the reports included here stress the growing tension between the particularity of the cuts to the education sector and the more general 'public sector fight back' that is emerging. Despite the need to recognise the distinctions within the education sector itself (between academic staff and students on one hand, and non-academic staff on the other) there is a distinct danger of forming a coalition solely amongst students and workers who used to be students. The student occupation at Middlesex University over the summer of 2010, as well as the more recent spate of occupations and sit-ins in universities, schools, art galleries and other public spaces across Britain, have nevertheless ushered in a moment full of potential. Not only have they sought to be inclusive, but they have also shown the growing irrelevance of student leaders and old style mass-organising. Heidi Liane Hasbrouck's piece on the NUS's denunciation of the Millbank riot highlights this moment of self-realisation. There is a widening recognition of a need to self-organise and continually push at the borders of the possible. This is not '68 redux; and a better thing for it. All of this begs the question, will this fight-back be enough to save any residual quality and equality within education and its institutions? Mute began compiling a mini-dossier of reports, questionnaires and analyses on the crisis and struggles within education in May 2010, as it was unfolding in the UK and beyond. Since the magnificent occupation of the Tory headquarters at Millbank on 9 November - which seemed to jolt people out of their despair or slumbers - many more reports on education struggles have been published in Mute. Here we present you with a selection of some of the most urgent.

The ways in which the personal can be grasped as political is an exponentially productive legacy of second wave feminism. This idea connects the arguments made by many of the writers in this issue: CLINICAL WASTEMAN considers the all too personal experience of impersonal systems of exploitation but equally, and against communitarian fantasies, the need to think all imaginable futures as only socially, not privately, producible; in Occupy, NICK THOBURN discovers a collective exposure and deprivatisation of the privatised hells of living through austerity; and P. VALENTINE exposes the social function of the intimate ordeal of sexual violence. Maintaining conceptual and experiential distinctions, or f ire walls, between the personal and the impersonal, the domestic and the political, both within the mainstream and on the left, is exposed as actively constituitive of the system as a whole.

Felix Stalder's extended essay, Digital Solidarity, takes it's point of departure from the waves of new forms of networked political organisation which have met the onset of the global economic crisis of 2008. Following Karl Marx, Stalder lays out how in the current period there are emergent contradictions between applied innovation and technical progress and the economic institutions whch organise or restrain this progress. The contradictions between forces of production and relations of production are placed in a context in which we have left McLuhan's Gutenburg Galaxy behind for good and the struggles over where we will arrive are only just beginnning. A co-publication of Mute Books & the Post-Media Lab

Post-Fordist state planners, developers, and their entrepreneurial service arm have debased the meaning of 'creativity' to a shallow pretext for the further looting of cities and public wealth. The cookie-cutter aestheticisation of selective zones of our cities (tourist promenades, waterside public art, creative quarters), is a mere fig leaf covering the acts of enclosure and exclusion that cultural regeneration entails. As the sensibilities of the Creative Class are sensationalised, courted, and monetised, the creative possibilities of the dehumanised majority narrow. But as the recession bites, there are signs that dreams of the Creative City are crashing, as the public-purse strings tighten and the financial sector's ability to underwrite the creative industries weakens. In this issue we revel in that possibility, explore artists' creative sabotage of their own regenerative co-optation, and philosophically examine what 'expression' might actually be. Deriving Under the Influence Chris Jones inspects the wounds opened by Laura Oldfield Ford's pictures of regenerate London CG2014: Formulary For a Skewed Urbanism Neil Gray ambushes the cowboy capitalists staking out Glasgow's 'urban frontier' The Creative City In Ruins Artist's project by Nils Norman Concerning Art and Social Change Brian Holmes and Marco Deseriis on critical culture within recuperative 'semiocapitalism' All Mouth, No History William Dixon gets gobby with Christian Marazzi and his linguistic analysis of financialisation Debt: The First Five Thousand Years David Graeber gives us the elevator pitch on debt's violent history Hungry Ghost Steve McQueen's filmHunger whets Paul Helliwell's appetite for some political context A Climatic Disorder? John Cunningham clears the air after a meeting between Climate Campers and the NUM 'The Simple Expression of Complex Thought' M. Beatrice Fazi splices interactive media and the philosophy of expression Objective Phantoms Kenneth Cox toys with Romanian poet Gherasim Luca's objects and desires