Fast Feminism (Bell 2010) is a work of speed philosophy, pornography and politics. It is situated simultaneously as a complement to speed theory and as the accident of speed theory.

Fast Feminism applies seven tendencies of Virilio's work: (1) critique the world quickly; (2) deploy speed to interrupt intellectual scholarship; (3) position the body as the basis of intellectual work; (4) write theory as art; (5) do theory from non- obvious points of departure; (6) speed and slowness work together as stability and motion, stasis, velocity, interruption and linkage; (7) use Virilio's (Virilio and Lotringer 2008: 52) ‘staircase’ method from Pure War for doing philosophy: once an idea is introduced and deployed, jump to linkages with another idea and always, always, do violence to the original context.

For Virilio, the accident, although an unintended and disturbing consequence, is inherent in, and created by, the very technology or knowledge system it undermines. Fast Feminism is the bastard off spring of Virilio's The Original Accident (2007a [2005]: 4), of the ‘happy accident, the stroke of luck’ and of speed theory. As Virilio is careful to point out in The Accident of Art (Virilio and Lotringer 2005: 63): ‘the accident is positive […] because it reveals something important that we would not otherwise be able to perceive’, in this case, the importance of Virilio's method for contemporary feminism or feminism now.

How is Fast Feminism both the likely and unlikely accident of speed theory? An accident of any system, whether that system is ecological, technological or philosophical, is Virilio's Unknown Quantity (2003b [2002]) inherent in the original substance.