oneacre.online (2017–)

19 September 2020, dusan

oneacre.online is an experimental publishing and distribution project that utilises an online platform to seed unprintable text-based works by emerging artists. The project explores the possibilities of hyper-publishing in a series of commissioned publications. Thematically the first four place themselves in the online world of constant updates and refresh buttons that, as theorist Wendy Chun observes, “exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same”. The publications use the omnidirectional online terrain and actions that are native to it — such as refreshing, instantly available to edit, easily erasable, highlighting, copy-pasting and non linear navigation — to explore and critically evaluate visions and versions of power systems by tracing the politics of technological infrastructures. Hidden in places as traditional as archives, as often used as smart phone applications, omnipresent and inescapable as the financial market and as quiet and evasive as the transfer of information in narrative structures.

The series showcased in December 2017 Poetics and Politics of Erasure by Yun Ingrid Eel, a multidisciplinary research paper on the aesthetics and politics of erasure. In March 2018, Artificial Intelligence Never Has a Headache by Karina Zavidova, a long-form about the fear of AI spread by the media, and the market of productivity-enhancing tools it has fuelled. In July 2018 Radio, Techno, Fossil by Eline Benjaminsen & Sophie Dyer, the story of a radio-image as it traverses the bounds of the Earth’s surfaces, atmospheres and techno-geographies. And in September 2018, Meaning Seeking Animals by Lisa van Casand, a subjective collection of a wide range of perspectives on the transfer of information.”

Made by Stef Kors, Titus Knegtel, Victoria Douka-Doukopoulou
Published 2017-2018

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Mark Fisher: Postcapitalist Desire: The Final Lectures (2020)

18 September 2020, dusan

“This collection of lecture notes and transcriptions reveals acclaimed writer and blogger Mark Fisher in his element — the classroom — outlining a project that Fisher’s death left unfinished.

Beginning with that most fundamental of questions — “Do we really want what we say we want?” — Fisher explores the relationship between desire and capitalism, and wonders what new forms of desire we might still excavate from the past, present, and future. From the emergence and failure of the counterculture in the 1970s to the continued development of his left-accelerationist line of thinking, this volume charts a tragically interrupted course for thinking about the raising of a new kind of consciousness, and the cultural and political implications of doing so.

For Fisher, this process of consciousness raising was always, fundamentally, psychedelic — just not in the way that we might think.”

Edited and with an introduction by Matt Colquhoun
Publisher Repeater Books, London, 2020
ISBN 9781913462376

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View: Parade of the Avant-Garde: An Anthology of View magazine, 1940-1947 (1991)

18 September 2020, dusan

“As surrealism struggled to sustain its spark in the 1940s, View–the avant-garde magazine edited by poet Charles Henri Ford–attracted many of the most vital writers and artists of the period. A feast of riches, this illustrated anthology spanning the years 1940-1947 includes prose by Max Ernst, Henry Miller, André Breton, Mina Loy, Gabrièle Buffet and William Carlos Williams; essays on Marcel Duchamp, Fernand Léger, Federico Garcia Lorca, Yves Tanguy and Pavel Tchelitchew; and poems by e.e. cummings, Wallace Stevens and Lawrence Durrell, to name a few. As this roster suggests, View’s scope went beyond surrealism, embracing many émigré talents who clustered in New York and reproducing artwork by Picasso, Miro, Brancusi, Chagall.”

Foreword by Paul Bowles
Compiled by Catrina Neiman and Paul Nathan
Introduction by Catrina Neiman
Publisher Thunder’s Mouth Press, New York, 1991
ISBN 1560250135, 9781560250135
xvi+287 pages

Reviews: Perry Meisel (New York Times, 1992), Publishers Weekly (1991).

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