Gean Moreno

Publisher[NAME]2017
“Police killings captured on cell-phone video or photographs have become the hallmark of United States visual culture in the twenty-first century. In this book, I examine this transformation of visual culture from the deaths of Eric Garner and Michael Brown in the summer of 2014 to the inauguration of Donald Trump in 2017. As a person designated “white” by the color line in the United States, I do so from the perspective of anti-antiblackness. I study the formation of the space of appearance, that space where we catch a glimpse of the society that is to come—the future commons or communism. ...

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Publishere-flux2010
In a recent BBC documentary on “objectum sexuals”—people who have loving relationships with inanimate objects—Erika Naisho Eiffel spoke about her love affair with an archer’s bow: “We were just such a great team because we had that connection on every single level. I’d almost swear that my blood flowed from my arm and went right into him. And it felt like the molecules in him were flowing right back into my arm.”1 It’s no surprise that, before their love waned, Naisho Eiffel was a record-breaking world champion archer—a love story indeed. But more importantly, Naisho Eiffel’s example seems to suggest ...

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Publishere-flux2010
Issue 18 of e-flux journal marks the beginning of our third year of publishing, and the start of a “Letters to the Editors” feature, with reader responses to issues or individual essays published in the journal. To offer your own response, write to journal@e-flux.com… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle History in the Making Peter Friedl Concepts Are Mental Images: The Work as Ruin Marta Jecu In Defense of the Corrupt Intellectual Hassan Khan Generic Objects Gean Moreno and Ernesto Oroza In Conversation with Antonio Negri Hans Ulrich Obrist Letters to the Editors: Eleven Responses to Anton Vidokle’s “Art Without Artists?”

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Publishere-flux2012
As we continue to reflect upon the chain of political upheavals of 2011, it may be interesting to consider a particular shift in the status of information technology, now that it has been deployed as such a powerful force in facilitating the rise of a new popular voice… Editorial Julieta Aranda, Brian Kuan Wood, Anton Vidokle An Internet of Things Keller Easterling Notes on the Inorganic, Part I: Accelerations Gean Moreno After OWS: Social Practice Art, Abstraction, and the Limits of the Social Gregory Sholette General Performance Sven Lütticken The Sound of Breaking Glass, Part II: Agonism and the Taming of Dissent Grant Kester

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Publishere-flux2012
The films of Adam Curtis—a BBC journalist by vocation, but a filmmaker and information archeologist in practice—appear as conspiracy theories wrapped in historical facts wrapped in social desires. These films remind us that dominant historical narratives are not only subject to rewriting but also sites of intense confusion, ideology, and intrigue. By fusing together narrative and reportage, Curtis’s films enter an ecstatic and playful sphere where themes of power, coercion, technology, morality, and freedom assume a life of their own. This issue of e-flux journal features a rare in-depth interview with Curtis by Hans Ulrich Obrist, coinciding with the filmmaker’s first ...

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Publishere-flux2013
Where did the critical tradition of art go? Maybe that’s the wrong question. Because we know the answer. It went into spectacle. It went into finance. It got privatized, democratized, scrutinized, defunded, bureaucratized, then professionalized. The critical stick became a seductive carrot. But maybe we don’t have to see this only in terms of a fall from grace. Maybe this is the time for a long-overdue realism that an art field still in the thrall of modernist humanism struggles to avoid recognizing. Isn’t it strange how we are subjected to the most extreme aspects of this new order and yet ...

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Publishere-flux2014
Thanks to everyone who came out to our fifth anniversary party in December. It’s 2014 now and we are still hungover. But we want to tell you about a very strange thing that happened to us there. Late in the night we met a young Chinese artist through a friend, and she told us about a recurring nightmare of hers. What happens most nights is this: each time she produces an artwork, a giant barbarian with a long beard appears wielding a sword as long as a person is tall. And with the rounded blade of the sword, he slices ...

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Publishere-flux2014
How do we invent bad criteria for rotten infrastructure, the sliding of norms to the always incomplete and the already broken? The hack, the stupid fix, the patch—these are songs sung out of holes and faults and leaks. We are only now discovering that the limits to our endurance are actually far more constitutive than our daydream fantasies of a wholeness based in currency that already functions perfectly well as toilet paper. This is past the Romantic tradition of inspired cataclysmic becoming and inside of its ruin only because it’s just not how things work out for most people who ...

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Publishere-flux2009
Projections of the future that were made in the past are often striking in their bold naïvete—didn’t people understand then that future projections always end up looking like caricatures of past concerns? But whereas these projections do little to actually activate the future they foresaw, they do function as expressions of pure intention, and in this sense they are probably not so naïve. Rather, they indicate a certain bold willingness on the part of people of a certain time to define in explicit terms exactly how the future should function, and indeed, most of these projected futures never come to pass—they remain ...

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Publishere-flux2017
So this is the plan that we came up with in the huddle, stunned and not so stunned at the storm clouds that have broken, at the deluge that is here: we are putting up alternative facts to the alternative facts that are being deployed in a rightward swerve that has us up against the rails. We are also putting up an alternative common sense to the centrist liberal one that is what ultimately, at the fundamental level, keeps this world from coming undone, preservation being its constitutive mandate. “Let us imagine,” David Marriott begins his essay in this issue, ...

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