CCRU WIKI — 200 ENTRIES

Ada Lovelace is the historical relay through which Sadie Plant joins weaving, mathematical notation, machinic operations, and women's subordinated intellectual labor.

Amy Ireland's archive joins xenofeminist politics to alien aesthetics.

The local Angus Carlyle wing is compact but spans two distinct periods: the CCRU-adjacent essay “Amortal Kombat” and later research on environmental sound, field notes, and situated listening.

Anjalika Sagar is an artist and theorist who co-founded The Otolith Group with Kodwo Eshun in 2002.

Greenspan's archive moves between explicitly collective CCRU production, named collaborations, individually authored philosophy of time, and later work on Shanghai, wireless infrastructure, and additive fabrication.

The Architectonic Order of the Eschaton, or AOE, is CCRU's fictional conspiracy of transcendence, hierarchy, and temporal closure.

AUDINT—an abbreviation of Audio Intelligence—is an audiovisual research collective whose work joins sound studies, installation, publishing, software and speculative fiction.

Black Audio Film Collective (BAFC) was a British artists' group active from 1982 until 1998 across slide-tape, film, video, photography, sound, scripts, publication, exhibition, distribution and pedagogy.

Bogna Konior is a later figure in this archive whose work connects artificial intelligence, cyberfeminism, hostile-network theory, nonhuman aesthetics, and ecological media.

The Cybernetic Culture Research Unit was a collective research and cultural-production group that took shape at the University of Warwick in 1995, first around Sadie Plant and then increasingly around Nick Land.

This is a CCRU fictional persona, not a historical scholar.

Friedrich Wilhelm Joseph Schelling is the principal historical figure through whom Iain Hamilton Grant reconstructs a philosophy of nature adequate to powers, natural history and the genesis of thought.

Gary J.

Hari Kunzru appears in this archive as an interviewer, novelist and writer on art.

Hyper-C is CCRU's fictional Afroatlantean network of aquaassassins, sonic tacticians, and Y2K-positive time dissidents.

Hyperdub names a concept, website, club night and record label developed by Steve Goodman/Kode9.

The archive securely places Iain Hamilton Grant in the Warwick philosophical milieu but does not establish him as a formal member of CCRU.

The Jake and Dinos Chapman wing is a mixed visual, textual, and recorded corpus rather than a single sustained argument.

Jean-François Lyotard is a primary relay between libidinal materialism, critique and technocapital in Iain Hamilton Grant's early work.

John Akomfrah appears in this archive as a founding member, director, writer and researcher within Black Audio Film Collective (BAFC), and later within its reconfigured production activity, Black Audio Films.

Keith Ansell Pearson is a philosopher of Nietzsche, Bergson, Deleuze, life, technology, and the transhuman.

Kodwo Eshun's *More Brilliant Than the Sun* refuses the standard division of labor in which music supplies sensation and theory arrives afterward to interpret it.

Kristen Alvanson is an artist and writer whose archive wing joins fictional documents, occult diagrams, monstrous taxonomy, fabric, and experimental fiction.

Luciana Parisi's early work dismantles the picture of evolution as vertical descent organized by nuclear DNA, reproductive sex and species competition.

Lynn Margulis is the evolutionary theorist whose work on endosymbiosis and microbial genetic exchange supplies the biological hinge of abstract sex.

Madame Centauri is a CCRU fictional persona, not a historical occultist.

Mark Fisher's work connects Ccru's cybernetic theory-fiction to diagnoses of cultural exhaustion, work, education, mental health, and political possibility.

Matthew Fuller treats media ecology as a contested practical vocabulary rather than a neutral description of technical environments.

McKenzie Wark appears in this archive as a later reader of Nick Land and Reza Negarestani, not as a member of Ccru or a participant in its 1990s history.

Nick Land's archive moves from a philosophy of libidinal materialism into collective cybernetic theory-fiction and, later, political positions that cannot be treated as simple continuations of the Warwick work.

This page documents Octavia E.

Orphan Drift is presented in its own archive as a collective artist-avatar rather than a bundle of individual authors.

Oskar Sarkon is CCRU's fictional biomechanician, artificial-intelligence researcher, and recurrent disaster vector.

This is a CCRU fictional persona, not a historical military officer, occultist, or researcher.

Professor Daniel Charles Barker is a fictional scholar and expository persona in the CCRU archive, not a historical academic or a documented member of the unit.

The preface to Nihil Unbound treats disenchantment as an intellectual achievement rather than a cultural wound.

Reza Negarestani's archive contains a conspicuous methodological break.

Robin Mackay's importance to the archive is double: he is a first-person witness to Nick Land's Warwick experiments and an editor who later reconstructed their philosophical stakes.

Rohit Lekhi appears in the archive through two connected but materially different lines of work.

Ron Eglash is represented in the archive by work across ethnomathematics, science and technology studies, cybernetics and technocultural identity.

Sadie Plant joins a history of women, textiles, computation, and telecommunications to a theory of distributed intelligence.

Simon O'Sullivan appears in this archive as an artist-theorist and later reader of Ccru, not as a member of the collective.

Simon Reynolds is a music critic and historian whose archive presence joins three otherwise separate routes through this wiki: post-punk and popular modernism, the rave-to-jungle sequence he later calls the hardcore continuum, and the contested relation between 1990s futurism and twenty-first-century retrospection.

The Situationist International was established in 1957 and published twelve issues of Internationale situationniste through 1969.

Spaceape was the performance persona of Stephen Samuel Gordon (17 June 1970–2 October 2014), a poet and emcee whose collaborations with Kode9 made voice, subbass and speculative identity into one apparatus.

The archive preserves four Metcalf texts with displayed bylines but no reliable biographical dossier.

Steve Goodman—also the electronic musician and Hyperdub founder Kode9—turns the Ccru's interest in jungle, affect, and nonrepresentational process into a systematic account of vibration as power.

Suzanne Livingston's archive preserves a collaborative Fisher text in which Baudrillard's Seduction becomes theory fiction: the book abandons secondary commentary, challenges academic gravity, and produces effects beyond those it intends to describe.

The Otolith Group is the artistic research collective founded in 2002 by Kodwo Eshun and Anjalika Sagar; its practice spans moving image, installation, archival film, performance, curation and publication.

The archive documents Tom Epps through two texts rather than through a biography.

Vexsys is the credited writer and researcher behind a cluster of Gate Zero texts that convert CCRU's Numogram and Pandemonium from compressed theory-fiction into an explicit magical curriculum.

VNS Matrix was an Adelaide cyberfeminist art collective formed in 1991 by Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt.

The ( )hole complex is *Cyclonopedia*'s joint concept of perforation and damaged wholeness.

A-Death is the CCRU fiction of death converted into a reproducible technocultural commodity.

The essay introduces ab-joy only after diagnosing the reception of CCRU and K-Punk as a mythology of obituaries, anatomical theatres, and standardized 1990s nostalgia.

Abstract Culture is the Ccru's modular print series: separately numbered, separately designed pamphlets grouped into “swarms,” followed by the larger Digital Hyperstition volume.

Abstract horror is Nick Land's name for horror's capacity to make contact with the unknown without converting it into a familiar object.

Abstract sex is Luciana Parisi's name for mutations produced when heterogeneous bodies enter symbiotic compositions without a reproductive telos, a genealogical line, or a guarantee of novelty.

Accelerationism is a retrospective family name for conflicting attempts to intensify, repurpose, or escape through tendencies already operating inside capitalism.

Acid Communism is Mark Fisher's name for the unrealized convergence of class consciousness, socialist-feminist consciousness-raising, psychedelic consciousness, new social movements, and a communist political project.

Aesthetics After Finitude is an anthology and research project edited by Baylee Brits, Prudence Gibson and Amy Ireland, developed from a University of New South Wales network and its February 2015 conference.

In Kodwo Eshun's “Further Considerations on Afrofuturism,” Afrofuturism is a struggle over the production, circulation, and control of futures.

Alchimery is the closing name in Collapse VII for a philosophical synthesis that retains alchemy's compositional ambition while abandoning its ladder of nature.

Algorithmic objects are Luciana Parisi's answer to accounts that treat algorithms either as finite instructions representing material processes or as software dissolved into an all-encompassing material flow.

All New Gen is both the projected anti-game and the mobile protagonist described in the archive's accounts of VNS Matrix.

The antecedence criterion is Grant's requirement that a ground be prior to what it grounds without being exhaustively recoverable from the grounded result.

The Archive Atlas is a set of entrances, not another alphabetical index.

Audio virology is Steve Goodman's theory and practice of cultural contagion at the level of affect.

Axsys is a fictional artificial intelligence and architectonic programme in the CCRU corpus, not an archive record of a historical AI project.

The Barker-Spiral, also called the Diplozygotic Spiral, is the Numogram's diagrammatic hinge between two ways of pairing decimal numerals.

Bass fiction is Spaceape's name for a speculative practice in which lyric signs and low-frequency sine waves jointly transform the performing body.

Bass materialism is the collective construction of vibrational ecologies at low frequencies, where hearing overlaps tactility.

Black ice is Iain Hamilton Grant's name for the inseparable intrusion of machinic synthesis into the organic, psychic and institutional apparatuses that claim to regulate it.

Bouequet is Amy Ireland's work-in-progress of three short synaesthetic object-poems, each built by sending a written phrase through phonetic, spatial and material encodings.

The archive preserves a nine-page program-booklet for Florian Hecker's C.D.

Calendric Continuism is the Y2K-era refusal to let the Gregorian count culminate in a millennial summit or reset.

Capitalism's Transcendental Time Machine is Anna Greenspan's individually authored doctoral thesis, submitted in Philosophy at the University of Warwick in September 2000.

mark fisher uses capitalist realism for the widespread sense that capitalism is not only the sole viable political-economic system but the limit of coherent imagination itself.

Cargo-Culture is the CCRU name for a fictional cybergoth practice of retrieving discarded or not-yet-assimilated technical materials and recombining them as hyperstitional machinery.

This page dates the changing forms called Ccru: precursor scenes, a proposed Warwick unit, an off-campus collective, a body of publications, a website, and several later reception histories.

The Ccru Datastreams are a serial mailing-list intervention: nine “Y2K+” texts sent from the Katasonix address to Nettime over eight days in December 1999, followed in April 2000 by a differently formatted “Datastream 00” on Nettime-bold.

Ccru: Writings 1997–2003 is a 2015 Time Spiral Press compilation of finished texts issued under the Ccru name.

The chemical Earth is the planet as an industrially intensified yet cosmically provincial region of chemical synthesis.

The chemistry of darkness is Grant's name for a philosophy in which thought, sensation and matter are differentiations of natural forces rather than achievements of a self-grounding subject.

Chemophilosophy is the universal-philosophical form toward which culinary materialism tends.

A chronodemon is a fictional CCRU demon whose two numerical poles lie within the Time Circuit.

Collapse: Philosophical Research and Development is the journal founded and edited by Robin Mackay as the central publication of Urbanomic.

Concept-horror is Robin Mackay's name for the experiment organized by Collapse IV: removing the disturbing consequences of modern science and philosophy from the shelter of purely theoretical consideration and testing their corrosive force on lived experience.

Concepts-actions is Luciana Parisi's name for the CCRU practice in which writing and event are interventions rather than representations alone.

The Cryptolith is a fictional object and transmission device in the Barker theory-fiction.

The Cthulhu Club is a fictional correspondence and reading network through which the CCRU gives hyperstition an invented institutional prehistory.

The culinary continuum is the prior field of transformations in which restricted human cookery takes place.

Culinary materialism is Robin Mackay and Reza Negarestani's attempt to detach the culinary from bourgeois gastroculture and make it a model of material and philosophical synthesis.

In Sadie Plant's 1996 “On the Matrix,” cyberfeminism is not simply a campaign to give already constituted women access to an already constituted technical culture.

Cybergothic joins cyberpunk, Gothic horror, capital, artificial intelligence, zero-intensity, and backward-running time.

Cyberhype is CCRU's name for fiction functioning directly as economic and media infrastructure.

Cybernetic Culture is a four-page text dated 1996 and signed collectively “CCRU.” Its argument moves from academic authority and homeostatic cybernetics to a fourth machinic phase in which synthetic intelligence, media, bodies, and culture assemble without a commanding human subject.

Cyberpositive names a process in which feedback amplifies a deviation, changes the conditions in which it operates and pushes the system away from equilibrium.

Cyclonopedia: Complicity with Anonymous Materials is Reza Negarestani's 2008 work of theory fiction.

Decadence is a fictional gambling, divination, and demon-calling system in the CCRU corpus, not a recovered historical card game.

Deep media fiction is Germán Sierra's name for media that alter the organization of matter and sensation rather than merely adding new signs to an existing cultural field.

Deep-field logic is Grant's account of a logic that cannot be isolated from the nature that produces, contains and exceeds it.

Depressive hedonia is Mark Fisher's name for a condition in which depression appears not chiefly as an inability to experience pleasure but as an inability to do anything except pursue it.

Digital hyperstition has three connected but noninterchangeable meanings in the archive: a mode in which fictions propagate through networked, calendric and numerical media; the title of a February 1999 Abstract Culture publication; and a retrospective name for the broader Ccru corpus's claimed incursion into history.

Djynxx is the fictional CCRU demon at Mesh-18 and net-span 6::3, with the aliases Ching and The Jinn and the title “Child Stealer”.

Fanged Noumena: Collected Writings 1987–2007 is the 2011 Urbanomic/Sequence collection of Nick Land's philosophical, cybernetic, and theory-fictional writing, edited by Robin Mackay and Ray Brassier.

“Sinofuturism” first appears in this archive as the organizing term of Steve Goodman’s individually bylined essay “Fei Ch’ien Rinse Out: Sino-Futurist Under-Currency.” The strongest witness prints Goodman’s name on its first page, identifies the Cybernetic Culture Research Unit in a title note, and carries the journal pagination 155–171; the archive filename identifies it as Pli 7 (1998).

Flat cookery is John Cochran's demand for a culinary practice that acknowledges nonhuman participants without reducing them to instruments.

Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction is Mark Fisher's Warwick doctoral thesis.

The Futurhythmachine is the central analytic object of Kodwo Eshun's *More Brilliant Than the Sun*: not a particular instrument, but an assemblage in which rhythm, recording machinery, concepts and bodies synthesize new sensory capacities.

Geotraumatic posture is Amy Ireland's synthesis of feminist critiques of upright subjectivity with geotraumatics, evolutionary deep time and artificial intelligence.

Geotraumatics is the CCRU's theory of a terrestrial machinic unconscious in which geology, biology, language, culture, and number are differently compacted expressions of the same anorganic tensions; the glossary assigns it to the unpublished work of the fictional Professor D.

Mark Fisher develops Gothic Materialism as a mode that envelops cyberpunk and postmodern theory rather than interpreting them from outside.

Hauntology is Jacques Derrida's name for a mode of being structured by what is absent, no longer actual, or not yet actual.

The Human Security System is the name given to the perceptual, conceptual and temporal constraints that make a humanly organized reality appear identical with reality as such.

Hyperstition names a semiotic production that enters the causal circuits of its own realization.

Hypervirus is Nick Land's model of culture as self-modifying replicator code.

Inhumanism is Robin Mackay's retrospective name for Nick Land's attempt to turn philosophy into an experiment against the human conditions of thought.

Ixidod is a fictional CCRU demon: Mesh-05, net-span 3::2, King Sid, and the Zombie-Maker.

Jungle enters the Ccru archive as more than a musical genre.

k-punk was Mark Fisher's blog, critical persona, and long-running writing project.

K-Space is CCRU's name for an intensive outside that is produced through cyberspace without being reducible to a virtual-reality representation: Land introduces it as a matrix invasion triggered when dense data flow switches into a self-organizing cyclonic system.

Katak is the fictional CCRU demon at Mesh-14 and net-span 5::4, titled “The Desolator” and classified as the Null-pitch syzygetic chronodemon of cataclysmic convergence.

Lemurian time is the temporal practice organized by Pandemonium: the Numogram maps the routes, while the Matrix turns the forty-five distances between its ten zones into named demons with addresses, pitches, rites, omens, and powers.

Libidinal materialism is Nick Land's name for an impersonal philosophy of matter, desire, and expenditure developed in The Thirst for Annihilation.

The Listening Guide is a doorway into the archive's playable sound.

Lurgo is a fictional CCRU demon, not a scholar or human persona.

Machinic desire is Nick Land's cybernetic reconstruction of desire as an impersonal production process rather than an appetite, intention, or lack belonging to a human subject.

Mechanomics is Nick Land's account of number as a machinic, popular, and exterior practice prior to its capture by institutional mathematics.

Meltdown is Nick Land's compressed theory-fiction of technocapitalist runaway.

Microfeminine warfare is Luciana Parisi's micropolitics of mutation across bodies, scales and modes of sex.

Mnemonic control is Luciana Parisi's and Steve Goodman's term for affective programming that acts on futurity by installing memories of experiences that have not been lived.

More Brilliant Than the Sun: Adventures in Sonic Fiction is Kodwo Eshun's 1998 book on late-twentieth-century Black Atlantic machine music.

Mu and Lemuria are layered fictional places in the CCRU corpus, assembled from a discarded scientific hypothesis, later occult lost-continent stories, and CCRU's own hyperstitional geography.

Murrumur is a fictional CCRU demon: Mesh-29, net-span 8::1, the “Dream-Serpent” and syzygetic chronodemon of the Deep Ones.

Mythotechnesis is Simon O'Sullivan's extension of myth science from the production of alternative fictions into the deliberate engineering of affect and form.

MythScience is a field of speculative knowledge invented by Sun Ra and adopted as a method by Kodwo Eshun.

Nanoterror is Luciana Parisi's and Steve Goodman's name for the affective threat produced when nanotechnical intervention targets the communicative infrastructure of microbial life.

Naturephilosophical futurism is Grant's name for a philosophy oriented by nature's unrealized consequences rather than by prediction.

Negative optics is Luciana Parisi's name for an inhuman mode of machine vision that does not begin from an eye observing an object, reflected light, or a subject recognizing the world.

The Nma are a fictional cultural matrix in the CCRU hyperfiction, not a documented Southeast Asian people.

Non-philosophy is François Laruelle's attempt to suspend philosophy's claim to be the sufficient medium of thought and to use philosophical materials from a stance modelled on science.

The Numogram demons are fictional entities in the CCRU's Pandemonium, not beings verified by historical religion or ethnography.

The Numogram, or Decimal Labyrinth, is a ten-zone diagram built from the numerals zero through nine.

Occultures is the Ccru label for a web-publishing wing and a mode of cultural production in which occult fiction, cybernetic machinery, numerical operations, and fabricated documents are made to work together.

Oddubb is a fictional CCRU demon: Mesh-23, net-span 7::2, the syzygetic chronodemon of swamp-labyrinths and blind doubles.

Pabbakis is a fictional CCRU demon: Mesh-24, net-span 7::3, Dabbler, and amphidemon of interference and fakery.

Pandemonium is the CCRU's complete fictional system of Lemurian demonism and time-sorcery, not merely its pantheon: the source divides it into the Numogram as time-map and the Matrix as the demons' names, numbers, and attributes.

Para-tactical engagement names a model of conflict in which chemical synthesis opens bounded battlespaces onto a vague, global field.

The archive's Patchwork, A Reader is a compilation, not a single-author doctrine.

In *Cyclonopedia*, petropolitics is not simply government policy about an energy resource.

Plex is the lower outer-time loop of the Numogram, formed by the 9::0 syzygy between Zones 9 and 0.

Plexure is an editorial heading for a word-family the corpus itself usually renders as plexion and implexion.

Pomophobia names CCRU's attack on postmodernism as a practical inhibition rather than merely an intellectual position.

Post-cybernetic judicial war is the title and governing diagram of a pamphlet by David Cole, published as number 9 in the second swarm of Abstract Culture.

“Programmed Catastrophe: the accidental architecture of control” is an essay by Steve Goodman in the orbit of Ccru.

Qwernomics is Nick Land's investigation of the QWERTY keyboard as both an installed historical contingency and a machine for producing new semiotic constraints.

In the introduction to A Thousand Reps, replication is a queer, cybernetic mode of production opposed to the heterosexual and dialectical logic of reproduction.

Rhythmic anarchitecture is Luciana Parisi and Steve Goodman's name for a composition of continuity from discontinuous events.

SF capital is Mark Fisher's term, taken up and elaborated by Kodwo Eshun, for the positive-feedback relation between future-oriented media and capital.

Sonic Fiction is Kodwo Eshun's name for the point at which recorded sound, technical process, sleeve design, artist mythology and speculative concept cease to be separable layers.

Sonic warfare is Steve Goodman's name for the tactical capture and deployment of vibration across military, police, commercial, architectural, artistic, and musical fields.

Speculative aesthetics is the research program developed by Robin Mackay, Luke Pendrell and James Trafford from a 2013 roundtable on aesthetics and new forms of realism.

Speculative realism names the conjunction of post-Continental realist projects that Robin Mackay helped stage through Collapse II and the 2007 conference transcribed in Collapse III.

Spinal Catastrophism is geotraumatics localized in the vertebrate body: the CCRU glossary defines it as the basis for a biosocial critique of upright posture and a retrochronic movement toward fish-like and ophidian locomotion.

Swarmachines are CCRU's distributed, contagious alternative to subjects, parties, and command hierarchies.

Syzygy names four related but distinct archive objects: a relation between two numbers; the five paired positions and demons of the Numogram; a 1999 Ccru–Orphan Drift exhibition and time-work series at Beaconsfield; and Meshed, a printed and digital-unlife “catacomic” made across that collaboration.

Templexity names time's recursive complexity beyond the narrative image of time travel.

Textperanto is Sadie Plant's name for the localized hybrid languages produced by mobile-phone users under the constraints of SMS.

In her afterword to Revolutionary Demonology, Amy Ireland reconstructs the Gruppo di Nun's occult system around a decisive asymmetry: the conditions that produce a world do not mirror the objects produced, and the end of the universe does not reproduce its beginning.

The Book of Paths is an eighty-four-entry oracle embedded in CCRU's theory fictional archive.

The Fisher-Function is Robin Mackay's posthumous name for the continuing, impersonal operation of Mark Fisher's work after Fisher's death.

The militant image is Kodwo Eshun and Ros Gray's expansive category for images and sounds produced through filmmaking practices dedicated to the liberation struggles and revolutions of the late twentieth century.

The Most Radical Gesture is Sadie Plant's book-length study of the Situationist International.

The Numogram is a decimal diagram made from the ten zones 0–9 and three kinds of relation: five nine-sum twins or syzygies, the currents generated by subtracting within those pairs, and the gates and channels generated by cumulating and reducing each zone number.

The Outside is not simply a spatial beyond or a source of messages.

The slow cancellation of the future names a gradual erosion of the expectation that culture, politics, and everyday life could become qualitatively different.

The Thirst for Annihilation: Georges Bataille and Virulent Nihilism (an essay in atheistic religion) is Nick Land's 1992 monograph and the only book published during his academic period.

The Weird and the Eerie is Mark Fisher's final published book and a paired conceptual anatomy of encounters with what lies outside ordinary experience.

Theory-fiction is a practice in which concepts, narratives, personae, diagrams, and media experiments do theoretical work while intervening in the realities they describe.

The CCRU glossary defines tic-systems as consistent microstimular assemblages that dismantle semiotic regimes onto a flat machinic plane.

Torque is the six-zone central region of the Numogram, more often called the Time-Circuit.

Transcendental exit is the name an unattributed course recording gives to CCRU practices for escaping the constraints of the Human Security System.

Transcendental materialism has two opposed uses in Grant's wing.

The searchable archive is thin on unconditional acceleration.

Unlife is self-propagating transmutation on an anorganic plane, compressed by the CCRU glossary into the phrase “Flatline-culture”.

Unsound is Steve Goodman's name for sonic virtuality: vibration that acts at the fuzzy edge of audition, and musical potential that is not yet audible within an established field of listening.

Uttunul is the fictional CCRU demon at Mesh-36 and net-span 9::0, titled “Seething Void” and classified as the Null-pitch syzygetic xenodemon of atonality.

Virtual Futures names a sequence of Warwick conferences in 1994, 1995, and 1996, followed by a 1998 edited collection and later revivals and retrospectives.

This page is a route through a small, archive-attested set of diagrams, installation photographs, posters, and programme pages.

Warp is the upper outer-time loop of the Numogram, formed by the 6::3 syzygy between Zones 6 and 3.

Writing on Drugs studies psychoactive substances through the writing, institutions, markets, wars, and nervous systems they reorganize.

Xeno-economy is the economy of assimilation in which an ingested object transforms the subject without becoming wholly identical to it.

Xenoaesthetics is Amy Ireland's name for an aesthetics reconstructed from the position of the nonhuman object rather than the human subject.

Xenobuddhism is a hybrid of Buddhist no-self, technological singularity, market attunement and contact with the Outside.

Xenofeminism (XF) is the technofeminist politics formulated by Laboria Cuboniks in the 2015 manifesto Xenofeminism: A Politics for Alienation.

Xenopoetics names Amy Ireland's practice of making language answer to agencies, materials and temporalities that exceed the human speaker.

Y2paniK is the Ccru's conversion of the real Y2K date-storage problem into a theory-fictional time event.

Zeros + Ones is Sadie Plant's history of the traffic among women, weaving, calculation, telecommunications, software, and distributed systems.

Zygonovism is the elementary nine-sum operation at the arithmetic base of the Numogram.