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In 2018 [NAME] Publications launched dispatches, an online journal that explores the cross-cutting relations between everyday and formalized cultural production and the enduring colonial logic of capitalism. Published in Spanish and English, each issue of the journal offers a variety of contributions that analyze emergent tendencies that cast their lot with anti-extractivist and climate struggles, alert us to cultural and territorial dispossession, highlight new forms of resistance and epistemological reconfigurations, and in the process offer a prism through which to read the complex configurations that define our contemporary moment., https://www.librarystack.org/dispatches-journal-002/?ref=unknown

In 2018 [NAME] Publications launched dispatches, an online journal that explores the cross-cutting relations between everyday and formalized cultural production and the enduring colonial logic of capitalism. Published in Spanish and English, each issue of the journal offers a variety of contributions that analyze emergent tendencies that cast their lot with anti-extractivist and climate struggles, alert us to cultural and territorial dispossession, highlight new forms of resistance and epistemological reconfigurations, and in the process offer a prism through which to read the complex configurations that define our contemporary moment., https://www.librarystack.org/dispatches-journal-000/?ref=unknown

So this is the plan that we came up with in the huddle, stunned and not so stunned at the storm clouds that have broken, at the deluge that is here: we are putting up alternative facts to the alternative facts that are being deployed in a rightward swerve that has us up against the rails. We are also putting up an alternative common sense to the centrist liberal one that is what ultimately, at the fundamental level, keeps this world from coming undone, preservation being its constitutive mandate. “Let us imagine,” David Marriott begins his essay in this issue, “that ‘black lives matter’ is a scandalous, even decadent claim, characterized, as the definition has it, by excess or luxury.” If this is so, Marriott makes clear, it is an excess we cannot afford to not afford. It is evident that #BlackLivesMatter and the organizations that coalesce the Movement for Black Lives (M4BL) represent the most important and promising developments in the theory and practice of abolition. The luxury it is bound to may be communal above all else… Editorial—“As the world falls apart…” Julieta Aranda, Brian Kuan Wood, Gean Moreno, Stephen Squibb, and Anton Vidokle On Decadence: Bling Bling David Marriott 1 (life) ÷ 0 (blackness) = ∞ − ∞ or ∞ / ∞: On Matter Beyond the Equation of Value Denise Ferreira da Silva All Black Everything Jared Sexton Material Matters: Black Radical Aesthetics and the Limits of Visibility Sampada Aranke Dis/Continuum Lamin Fofana Introduction to Boggs Patrick King Black Power: A Scientific Concept Whose Time Has Come James Boggs Below the Water: Black Lives Matter and Revolutionary Time Nicholas Mirzoeff Just Back from Los Angeles: A Portrait of Yvonne Rainer, https://www.librarystack.org/e-flux-journal-79/?ref=unknown

“Police killings captured on cell-phone video or photographs have become the hallmark of United States visual culture in the twenty-first century. In this book, I examine this transformation of visual culture from the deaths of Eric Garner and Michael Brown in the summer of 2014 to the inauguration of Donald Trump in 2017. As a person designated “white” by the color line in the United States, I do so from the perspective of anti-antiblackness. I study the formation of the space of appearance, that space where we catch a glimpse of the society that is to come—the future commons or communism. The first section analyses such spaces created by abolition democracy in Haiti, during Reconstruction and at Resurrection City in 1968. The second section considers the “persistent looking” used by Black Lives Matter protests from Ferguson on, especially “Hands Up, Don’t Shoot,” the die-in and the turning of backs. I then explore a simple form of visual activism, cropping photographs of crime scenes to exclude the fallen and broken bodies. It reveals the space of nonappearance, the no one’s land where people die in America. In the third section, I use the archive created by the grand jury hearings into the death of Michael Brown to map this space of nonappearance and how it is sustained by white supremacy. At present, that space is imagined as co-extensive with the boundaries of the republic. I still want a space in which to appear that doesn’t reproduce white supremacy, that doesn’t represent a prison, in which there isn’t expropriated labor, and there isn’t genocide. What would that look like? This book is a toolkit for doing that imagining.”, https://www.librarystack.org/the-appearance-of-black-lives-matter/?ref=unknown

Thanks to everyone who came out to our fifth anniversary party in December. It’s 2014 now and we are still hungover. But we want to tell you about a very strange thing that happened to us there. Late in the night we met a young Chinese artist through a friend, and she told us about a recurring nightmare of hers. What happens most nights is this: each time she produces an artwork, a giant barbarian with a long beard appears wielding a sword as long as a person is tall. And with the rounded blade of the sword, he slices ..., https://www.librarystack.org/e-flux-journal-51/?ref=unknown

How do we invent bad criteria for rotten infrastructure, the sliding of norms to the always incomplete and the already broken? The hack, the stupid fix, the patch—these are songs sung out of holes and faults and leaks. We are only now discovering that the limits to our endurance are actually far more constitutive than our daydream fantasies of a wholeness based in currency that already functions perfectly well as toilet paper. This is past the Romantic tradition of inspired cataclysmic becoming and inside of its ruin only because it’s just not how things work out for most people who can’t afford to imagine themselves into concrete circumstances that will ever align with basic needs… Editorial—“Quasi-Events” Elizabeth A. Povinelli, Julieta Aranda, Brian Kuan Wood, Anton Vidokle Holding Up the World, Part I Karrabing Film Collective Holding Up the World, Part II: Time/Bank, Effort/Embankments Elizabeth A. Povinelli Holding Up the World, Part III: In the Event of Precarity … A Conversation Lauren Berlant and Elizabeth A. Povinelli Holding Up the World, Part IV: After a Screening of When the Dogs Talked at Columbia University Audra Simpson, Elizabeth A. Povinelli, and Liza Johnson The Negative Floats: Questions of Earth Inheritance Natasha Ginwala and Vivian Ziherl Designs for a New World McKenzie Wark SO NOW!: On Normcore Rory Rowan “From Little Things, Big Things Grow”: The Unfurling of Wild Policy Tess Lea “Un solo palo no hace monte”: Notes on the Otherwise’s Inevitable Infecundity Gean Moreno and Ernesto Oroza Cosmos as Commons: An Activation of Cosmic Diplomacy Debbora Battaglia After the Fictions: Notes Towards a Phenomenology of the Multitude Dilip Gaonkar, https://www.librarystack.org/e-flux-journal-58/?ref=unknown

This podcast is the first one to have two guests, Miami-based artists, writers and editors Gean Moreno and Ernesto Oroza, for an account of their collaborative work manifested in several texts and exhibitions. This conversation focuses on their analysis of “Generic Objects” that allows the optimal function of globalized capitalism (containers, cranes, ships, highways, palettes, buckets, etc.) through a universal metric system, as well as a more local tinkering of these objects in Miami’s Little Haiti for a more local economic form. It concludes the short series of podcasts in Miami. Gean Moreno is an artist and writer based in Miami. His work has been exhibited at the North Miami MoCA, Kunsthaus Palais Thum and Taxis in Bregenz, Institute of Visual Arts in Milwaukee, Haifa Museum in Israel, Arndt & Partner in Zürich, and Invisible-Exports in New York. He has contributed texts to various magazines and catalogues. In 2008, he founded [NAME] Publications. Ernesto Oroza is an artist, designer and writer based in Aventura, USA. He earned a degree at the Havana Superior Institute of Design. Oroza is author of the book Objets Réinventés. La création populaire à Cuba (Paris, 2002). He was visiting professor in Les Ateliers, École Nationale Supérieure de Création Industrielle (ENSCI) in Paris, and professor at the Polytechnic Institute of Design of Havana from 1995 to 2000. His work has been exhibited in museums, galleries, and cultural spaces such as Haute Definition Gallery, in Paris, The Montreal Museum of Fine Arts, Montreal, The Museum of Modern Art (MoMA), in New York, and Laboral Centro de Arte, in Spain., https://www.librarystack.org/a-political-and-philosophical-reading-of-the-systems-of-objects/?ref=unknown

This (bilingual) conversation with clothing designer Liliam Dooley has for object her most recent work, Project X (see below) for which she cut two distinct second-hand dresses and assembled them together to produce a third one. The particularity of this project is to voluntarily function with low costs of production in order to address a broader social audience than unique clothing usually does. Creativity and economic justice are therefore involved by a designer who has for aim to disappear. These clothing are the meeting point of three designers (the two original ones and Liliam), but also three bodies who influence the cloth in their uniqueness. Thank you to Gean Moreno for simultaneously translating this conversation. Liliam Dooley is a designer and artist working primarily with conceptual and critical design. She studied at Higher Institute of Design in Havana and in the academy of fine arts San Alejandro. She is now working on her recent project called X. Recent works include: a collaboration for the performance Emerald House at The Bakery (Miami, 2014), project X, which was exhibited at Factoría Habana (Havana Sept 2013); costume design for the performance Aquarius Juice at Light Box (Miami, 2012); project Spirals in a collaboration for the performance Think like a guy in Inkub8 (Miami, 2010)., https://www.librarystack.org/the-economics-and-creativity-of-the-second-hand-dress/?ref=unknown

Where did the critical tradition of art go? Maybe that’s the wrong question. Because we know the answer. It went into spectacle. It went into finance. It got privatized, democratized, scrutinized, defunded, bureaucratized, then professionalized. The critical stick became a seductive carrot. But maybe we don’t have to see this only in terms of a fall from grace. Maybe this is the time for a long-overdue realism that an art field still in the thrall of modernist humanism struggles to avoid recognizing. Isn’t it strange how we are subjected to the most extreme aspects of this new order and yet ..., https://www.librarystack.org/e-flux-journal-46/?ref=unknown

The internet does not exist. Maybe it did exist only a short time ago, but now it only remains as a blur, a cloud, a friend, a deadline, a redirect, or a 404. If it ever existed, we couldn’t see it. Because it has no shape. It has no face, just this name that describes everything and nothing at the same time. Yet we are still trying to climb onboard, to get inside, to be part of the network, to get in on the language game, to show up on searches, to appear to exist. But we will never get ..., https://www.librarystack.org/internet-does-not-exist-the/?ref=unknown

As we continue to reflect upon the chain of political upheavals of 2011, it may be interesting to consider a particular shift in the status of information technology, now that it has been deployed as such a powerful force in facilitating the rise of a new popular voice. But first, how did this happen? How did a form of communication—developed in the late 1950s with a well-funded US Defense Department initiative in response to the Sputnik threat, then blossoming in the hands of engineer-entrepreneurs in the Silicon Valley of the 1970s into the center of accelerated hyper-capitalism in the 1990s—evolve to become a strange hybrid of a free press, judiciary, and public market?… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle An Internet of Things Keller Easterling Notes on the Inorganic, Part I: Accelerations Gean Moreno After OWS: Social Practice Art, Abstraction, and the Limits of the Social Gregory Sholette General Performance Sven Lütticken The Sound of Breaking Glass, Part II: Agonism and the Taming of Dissent Grant Kester, https://www.librarystack.org/e-flux-journal-31/?ref=unknown

Issue 18 of e-flux journal marks the beginning of our third year of publishing, and the start of a “Letters to the Editors” feature, with reader responses to issues or individual essays published in the journal. To offer your own response, write to journal@e-flux.com… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle History in the Making Peter Friedl Concepts Are Mental Images: The Work as Ruin Marta Jecu In Defense of the Corrupt Intellectual Hassan Khan Generic Objects Gean Moreno and Ernesto Oroza In Conversation with Antonio Negri Hans Ulrich Obrist Letters to the Editors: Eleven Responses to Anton Vidokle’s “Art Without Artists?”, https://www.librarystack.org/e-flux-journal-18/?ref=unknown

Projections of the future that were made in the past are often striking in their bold naïvete—didn’t people understand then that future projections always end up looking like caricatures of past concerns? But whereas these projections do little to actually activate the future they foresaw, they do function as expressions of pure intention, and in this sense they are probably not so naïve. Rather, they indicate a certain bold willingness on the part of people of a certain time to define in explicit terms exactly how the future should function, and indeed, most of these projected futures never come to pass—they remain ..., https://www.librarystack.org/e-flux-journal-6/?ref=unknown