An exploration of the "swampy" zone between the human and the other forms of life that make up his ecosystem and his environment, at the intersection of art, architecture and philosophy, in the perspective of a posthumanist ecology.
Can objects be traumatized? How does the commercial value of an art object relate to its aesthetic qualities? How do objects interact? These are some of the questions addressed by Graham Harman, the originator of object-oriented philosophy and a central figure of the Speculative Realism school of thought in contemporary philosophy.
This publication documents and discusses Tensta konsthall's experimental multi-year project "Tensta Museum: Reports from New Sweden" that ran from 2013–18 in Tensta and beyond. By pretending to be a museum, the project created a richly contrasting patchwork stretching over six years, in which manifold interests and expressions together formed a narrative with tensions and conflicts erupting around questions like "what history and heritage?," "to whom do they belong?" and "what about the present?"
Zoran Terzić's wide-ranging and sharply detailed essay takes up the cultural-historical figure of the idiot and follows its numerous appearances throughout intellectual history in an examination of the art of idiocy that extends outside the hypertrophic present.
By defining a concept of architecture based on the tactile experience and not on construction, this book allows us to explore both discursive practice as the study of architectural art and the integration of architectural art as a discourse of spatial practice.
What happens when social scientists write about artworks? How does it affect the academic environment of a business school and how does it change the perception of art? Can it be used as a novel scientific method in the business studies?
Wonderflux brings together a group of longtime contributors with graphic artists to collaborate on illustrated essays and develop a new pictorial language around some of the emergent consistencies and overarching issues that defined the first decade of e-flux journal.
Elizabeth Povinelli's anthropology of the otherwise locates itself within forms of life that run counter to dominant modes of being under late settler liberalism. In these essays, she considers the emergence of new worlds and the extinguishment of old ones, seeking to develop a social imaginary that can sustain radical potentiality without turning a blind eye to our deep interdependence.
In this provocative intellectual biography, architectural historian Mark Wigley makes the surprising claim that the thinking behind modernist architect Konrad Wachsmann's legendary projects was dominated by the idea of television.