This book focuses on Amanda Beech's Final Machine [2013], a video work in three parts which interrogates the force of images in the context of contingency. Collapsing detective-style prose, laconic oracular visioning and dogmatic mantra, the work acts as a treatise on the image, politics and art itself. A foreword by Robin Mackay and new essays by Reza Negarestani and Bridget Crone interpret and surround this work, extending it to politics, fiction and philosophy, and weaving these reflections through Beech's wider practice.