In Ursula Le Guin’s 1971 novel The Lathe of Heaven, a seemingly unassuming young white male begins effective dreaming. Desperate to stop altering realities by night, George Orr borrows other people’s pharmacy cards (the world is overpopulated, resources heavily rationed) to obtain more than his share of dexedrine and barbiturates. Landing himself in the hands of an oneirologist, he becomes a tool—a proxy to make the doctor’s megalomaniacal utilitarian fantasies real. The doctor suggests, and George dreams. “This was the way he had to go; he had no choice. He had never had any choice. He was only a dreamer”…

Editorial
Editors

Homeland Security Stylesheet: Incest Font
Tam Donner

Content Industrial Complex
Dena Yago

Three Tendencies of Future Art
Ben Davis

Art Populism and the Alter-Institutional Turn
Marco Baravate

Learning from Machines, Seeing with a Thousand Eyes: On the Relevance of Russian Cosmism
Natalya Serkova

Art as the Overcoming of Death: From Nikolai Fedorov to the Cosmists of the 1920s
Anastasia Gacheva

Soylent Beige: The Middle Gray of Taste
Travis Diehl

21 Paragraphs on Badiou
Alexander R. Galloway

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