Features
Radical Radixes—On Lili Dujourie’s Mimesis
The work consists of an upright, kinked, and broken cylinder, from the base of which protrude zigzagging, forked rods; the whole evokes a barren tree trunk, its roots growing down the sides of its plinth, clinging to it. Two of the roots reach the pavement and one touches the steps, mimicking the way that some trees survive on rocks or walls by rooting around them.
Alison Nguyen’s Andra8 and the Gig Workers of the Data Economy
WangShui: Uncertainty in the Network
different ways to describe the ends of things
notes on Laurie Anderson
Behavior Conditioner: The Narrative Imagination of Ian Cheng
Some Questions Surrounding Robots and Rivers
Heritage Algorithms and Other Letters to the Future
Passenger—Migration Patterns on the Living and Those of the Dead
Millions of dead birds follow such new migratory paths, which draw capital from the south and the east into the north and the west. Often, these paths consolidate, convene in the centers of the colonizing empires—London and Paris—for a few years, or decades, before moving on to museums in the new world. These routes are not the birds’ natural flyways. They are new paths toward a capitalist archive that usurps purpose from the world it exploits.
Liv Bugge: The Consequence of Touching Oil
“What is the consequence of touching oil—of coming to know it in an embodied sense? What gets destabilized when oil slips out of the category of the inhuman, even momentarily? To make an image with the body requires revaluation of the discursive function of touch. I propose that Bugge’s document of people touching oil and becoming aware of its aliveness, its animateness, awakens those people to the violent relationship humans have not only with oil, but also with the world beings that humans broadly consider inanimate.”