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Computer Games and the Distraction Economy
Peter Krapp
Between the Madness and the Wisdom of Crowds
Anthology
Social Media—New Masses
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Social Media—New Masses
Current Texts
Between global and local ecologies
Liliana Gómez (ed.), Fabienne Liptay (ed.)
Eco-operations
What is euphemistically called climate change, or more directly climate crisis, has already become part of both aesthetic discourses and critical research perspectives in culture and the arts. Yet, until recently, the focus has mainly been on the representation of the prevalent ecological relationships and cycles, or on the impact on the environment and contemporary society. Increasingly, however, future-oriented, ecologically conceived potentialities of artistic actions are being explored by new alliances of artists, curators, activists, scholars, and other actors of...
Arts
It was another 75° day in LA.
Kim Gordon
The Pitch
It was another 75° day in LA. The kind that can either make you gloriously happy to live in such perfect warmth in February or want to make you want to go home and lay down and turn on the TV for a little feeling of connection to life outside of Cali. Those goddamn Santa Ana winds were beginning to whip around. I know the clichés about them creating madness.
As I walked around the garage I couldn’t help wonder what her...
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Fiction
Digital disrupture
Dieter Mersch
Digital Criticism
We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere, in the way that IT corporations, for example, use exclusively mathematical procedures to evaluate and delete “fake news,” inappropriate portrayals, or the violation of personal rights. This tends to result...
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Discourse
Around a sculpture by Alberto Giacometti
Georges Didi-Huberman, Mira Fliescher (ed.), ...
The Cube and the Face
The Cube, as we can see, isn’t one. It is an irregular polyhedron which catalogues describe as having twelve sides — that nice figure, twelve, a destinal figure if ever there was one, which willfully evokes Mallarmé’s throw of the dice, at the very moment that the clock strikes twelve at midnight, in the dark house of Igitur. One can imagine that Giacometti wanted to give a unique volume to the twelve facets — six and six — of two cubes added together: a unique architecture...
Humanities
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