 The crucial term of art here is ‘appropriation’, which Jaeggi uses to refer to the capacity for, and process of, relating to our own actions and projects in ways which engage ‘something like self-determination and being the author of one’s own life’  (2014: 39). Appropriation is successful—and alienation is absent—when ‘one is present in one’s actions, steers one’s life instead of being driven by it, independently appropriates social roles and is able to identify with one’s desires, and is involved in the world’ (Jaeggi 2014: 155). In contrast, appropriation is unsuccessful—and alienation is present—when there is ‘an inadequate power and a lack of presence in what one does, a failure to identify with one’s own actions and desires and to take part in one’s own life’ (Jaeggi 2014: 155). Alienation is thus identified with systematic disruptions of the process of appropriation – in particular, in those systematic disruptions which lead us to fail to experience our actions and projects as our own. These disruptions are said typically to take one of four forms: first, ‘powerlessness’ or the experience of losing control over one’s own life; second, ‘loss of authenticity’ especially when one is unable to identify with one’s own social roles; third, ‘internal division’ where one experiences some of one’s own desires and impulses as alien; and fourth, ‘indifference’ or a detachment from one’s own previous projects and self-understandings.