While the principle organized by the writings meeting of Mark Fisher is not chronological, this third volume reflects in a faithful manner those problems that revealed the last years of his life. In several of the interviews selected for this book, as well as in its numerous online interventions, among which are written as "Spinoza, K-Punk, Neuropunk", "good for nothing" or the bold, and at the time very debated, " Exit the vampire castle ", Fisher once again confronted the paralyzing purism on the left. Only in this opportunity, its focus is fundamentally set on how social networks, with their toxic trolls and witches hunting moralism, amplify our worst impulses, encouraging rapid and dismantling indignation almost completely every sense of camaraderie, class awareness and solidarity. A phenomenon that, of course, has not stopped growing and demonstrating how effective social technologies of communicative capitalism when exacerbating certain pulsions and blocking others.

But, as it usually happens with Fisher's work, the criticism of mechanisms that impoveriate our political power follows the indication on the positivity of what "capital is forced to obstruct always: the collective capacity to produce, take care of us and to enjoy". In this last guest of K-Punk, which works as an inspiring and luminous coda are the same pages that stamped the open end with which he concluded the intellectual legacy of him. We refer to the introduction to acid communism, the book in which he was working at the time of his death. A lot was written and will continue to be written about the last vision of it for an emancipatory policy. Acid communism was going to be a materialistic and psychedelic program destined to free up the political imagination of the constraint of capitalist realism, from resuming the social and psychic revolution that the counterculture of the sixties had begun and that neoliberalism so effectively could be disarticulated. That the project has been unfinished can be interpreted as an invitation to continue it where he left, always keeping that the invention of an unpublished horizon of cultural and political activism must exceed the subjectivity of a writer to become a collective task.