This sourcebook is a gathering of documentation on the labeling of all the materials that have gone into the exhibition Blind Sensorium. Il paradosso dell’Antropocene in Matera at the “Domenico Ridola” National Museum of Archaeology and in the spaces of the former “Alessandro Volta” school, from 6 September 2019 to 8 March 2020. The photographic images – which for the installation in Basilicata have been reproduced and printed in A4 and A3 format on specially prepared panels – are joined on these pages by the reproduction of materials contained in the “Domenico Ridola” Museum, which we have chosen as an integral ...

Organized in collaboration with Antje Ehmann and Doreen Mende, this issue of e-flux journal pays tribute to Harun Farocki (January 9, 1944–July 30, 2014) with a series of essays and reflections on his work and life by friends, collaborators, film scholars, and admirers. Those who knew Harun personally remember not only the epic influence of his work, but also his generosity as a friend and collaborator. As for us, we have never before dedicated a full issue of e-flux journal to a single artist… Editorial—Harun Farocki Julieta Aranda, Brian Kuan Wood, Anton Vidokle A Question They Never Stop Asking Kodwo Eshun Also of Things: Notes for a Film Remembering ...

Melville’s narrative is mentioned to suggest, recall, and emphasize “frontier research,” meant as a mode of investigation literally positioned at the extremes of knowledge, at the edge of what is known. The task of any research is to go beyond the already known, the already given. Beyond the mainstream, however, working at the edges means tackling controversial issues, which are difficult to settle with established methodologies: it calls for the “move of the knight.” In other words, it requires experimentation even in practice. More than that, frontier research is aimed at refuting dominant paradigms, thereby working with a high degree ...

Records of Disaster: Media Infrastructures and Climate Change explores how environmental disasters manifest and inscribe themselves in infrastructures. By turning to infrastructures, their logic and functioning, collapse and malfunction, the volume reveals their potential as fragile material witnesses to and of disasters. As climate change is unequally distributed across continuous dynamics and events, time scales and spatial registers, infrastructures can be understood as proxies or seismographs mediating different spatio-temporal layers that make these dynamics tangible. Disaster is made operational by negotiating what is defined as such, and under which geopolitical conditions. What connects melting glaciers and the knowledge from ice ...

Venice is well-known, its identity is so familiar to be considered obvious, summarized as if it were a replicable logo: the city shows its face leaving behind its backbone. Here gold and mud blend together, moulding a multifaceted document. In Venice an endless interchange between real and imaginary, original and fake, tiny and huge, powerful and fragile endures, while we look at the city as a shimmering object. The alter ego of what is well-known and obvious becomes superlative, since it exceeds predetermined standards; furthermore, it represents the inconceivable condensed in the prefix of another language as it is revealed only when one ...

What is Deep Sea Mining? Episode 1: Tools for Ocean Literacy is a cartographical survey of technologies that have contributed to ocean literacy and seabed mapping. Structured around a single shot along a vertical axis, the episode inquires about deep sea mining and the types of geologic formations where it is set to occur, particularly hydrothermal vents. Understanding the process of deep sea mining demands not only a temporal investigation – its main dates, legal and corporate landmarks, and scientific breakthroughs – but also a spatial axis connecting the seafloor to outer space cartographic technologies. After all, we know less about ...