May 6, 2015

The New Centre & e-flux collaborate to engage in Superconversations

The New Centre is pleased to announce our new partnership with e-flux, in which we will collectively engage in a 100-day dialogue with our members, affiliates and mutual associates, centered around their participation in the 56th Venice Biennale. The partnership will consist in the co-constitution of a “supercommunity” addressing a single issue of the journal spanning four months from May to August, with one piece of writing released each day. The medium will be the online discussion platform e-flux Conversations.

Included essays, poetry, fiction, plays and screenplays featured in this special issue will be centered around a range of subthemes such as Planetary Computing; The Social Commons; Citizens in the Shade; Aliens in the Sun; Cosmos; & The Art of Work, featuring contributions from Benjamin Bratton, Harun Farocki, Boris Groys, Nina Power, Elizabeth Povinelli, Mohammad Salemy, and Benjamin Woodard, amongst many others.

The supercommunity starts today (May 5th). See you there!

Please join us in this project by registering your own e-flux Conversations account: sign-up


For Machine Use Only: A New Publication by &&& / The New Centre

We are excited to announce the release of our publication produced in conjunction with Mohammad Salemy’s installation at the 11th Gwangju Biennale 2016. The book expands on the idea of machinic vision, featuring short texts by a range of thinkers, philosophers and scholars who were asked to contemplate about the possibilities and limitation of a […]

Superconversation 57: Andrey Gorokhov responds to Oleksiy Radynski,“The Arts for the Global Conflict: A 2115 Report”

The joy of time travel isn’t to see how the world or people will look at a very distant point in time, but to find that there some concepts, pictures, artifacts, lifehacks, etc, that derive exclusively from one’s own era. Yet, what’s found is actually brought by the time traveler himself in order to save today’s artifacts and circumstances from decay, or — even better — from critique and close scrutiny . . . the time traveler becomes a smuggler: in order to stop something from being questioned, he smuggles it into the distant future, since no one is yet there to have any doubts about the many issues, ideas and controversies of our highly nontransparent age. It appears therefore, as though the real achievement of the future — its comparative advantage — is the absence of doubts, cognitive disorders, paradoxes and dissonances. There are no double binds in the future! In the future everybody cares for art and artists and we don’t even need to ask ‘why?’ . . . In the future, such questions, as well as many others, no longer exist . . .

Superconversation 56: Jason Adams responds to Jussi Parikka, “The Alchemic Digital, The Planetary Elemental”

Day 56: Jason Adams responds to Jussi Parikka, “The Alchemic Digital, The Planetary Elemental” “. . . it is the planetary computational accoutrement to the economic proper that ensures the just-in-time acquirability of the needed elements, such as the practice of High Frequency Trading (HFT) requires the development of software and hardware through which nanosecond-level […]

Superconversation 58: Mohammad Salemy responds to Aaron Schuster ,“You can’t Ask Everyone to Behave Ethically Just Like That”

Mohammad Salemy outlines some of the main criticisms of Accelerationism today and shares “a few insights (and perhaps critiques) in order to judge this intellectual movement from within its ranks [while providing] constructive insights on how to move forward from here”

Superconversation 54: Dana Kopel responds to Showkat Kathjoo, “The Memory of a Deluge and the Surface of Water”

. . . what to make of objects whose properties and relations are magical, decidedly unreal? Philosophy constitutes itself in opposition to magic; realism and rationality are understood to be incompatible with the inexplicable, unpredictable nature of wish-granting boxes, immortal apples who long for death, and other supernatural phenomena. While OOO and SR point towards a universe in which everything exists, the objects in these stories press further, insisting upon their own agency, centrality and unknowability. They are magic objects; they constitute miniature universes in which the tragedies and commonplaces of the “real” are constantly displaced by the possibility of unexpected transformation . . . [magic objects] offer an escape from the codified, knowable real, but one grounded in the reality of tangible things and the relations between them. They are magic not because of some illusionistic quality—that they are not, or something more than, what they seem—but because they possess supernatural abilities, affective and material capabilities literally beyond nature.