Triple Canopy

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PublisherTriple Canopy2020
“A Cinder Block Falling on Concrete” consists of sounds and stories from Lawrence Abu Hamdan’s Earwitness Inventory, a personal library of sound effects related to the testimony of earwitnesses in criminal investigations. The objects in Earwitness Inventory are derived from interviews that Abu Hamdan has conducted with earwitnesses, as part of his work as a “private ear,” as well as transcripts from trials across the globe. (Multiple entries concern the reconstruction of Syria’s Saydnaya prison and the experiences of detainees, which Abu Hamdan undertook with the London-based research agency Forensic Architecture and Amnesty International from 2015 to 2017.) The library ...
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PublisherTriple Canopy2019
“How could my grandmother have made millions from the antiquated traditions and ridiculous superstitions that I’d been so desperate to abandon?” An essay on the monetization of traditional Chinese medicine and failed promises of diaspora. “Aconite, My Roots,” by Henry Zhang is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.
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PublisherTriple Canopy2017
The Amme Talks is a conversation between poet and machine. In 2003, poet Ulf Stolterfoht and a chatbot named Amme (which means “wet nurse” in German) met in Berlin. For one week, Stolterfoht interrogated Amme: not just a chatbot, actually, but a steel-and-glass construction with a computer interface, which is connected to a glass of milk, a robotic arm that tips over the glass, and a tube that releases water, as if urinating. Stolterfoht asked Amme—the creation of artist Peter Dittmer—about the nature of authorship and the agency of language; he intended to turn the answers into an essay on poetics. ...
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PublisherTriple Canopy2020
“Now we have to learn to listen to the speechless ruins.” A meditation on Black silence.
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PublisherTriple Canopy2019
“The Does leveled a challenge: if you can’t afford Avon, move.” A contemporary witch hunt in a picturesque New England town, amid faux colonials and foreclosures. “The Devil in Connecticut” by Jacqueline Feldman is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.
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PublisherTriple Canopy2019
“A fence’s integrity rests on its ability to enclose what one is unwilling or unable to offer.” Views from a performance of black fatherhood. “Fences” by Saretta Morgan is part of Resentment, the twenty-fifth issue of Triple Canopy, that is devoted to reclaiming—if not recuperating—resentment, especially as harbored by those who are used to fits of anger and bitterness being indicted as unproductive, petty, selfish, even pathological.
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PublisherTriple Canopy2020
“The more lonesome the isolation, the easier the pitch.” An essay on the exchange of faces for interfaces, suits for sweats, presence for liveness, and freedom for safety; a note on Two Ears and One Mouth. With artworks by Graham Anderson. (This essay is also available as an audio recording.)
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Headless, an exhilarating murder-mystery by the elusive K. D., probes the sordid secrets and sinister deeds of powerful financiers who use Caribbean firms to conceal their fortunes. The novel begins with workaday author John Barlow agreeing to ghostwrite a novel about secretive tax havens. Barlow assumes the job will be a no-brainer. But then his eccentric employers, Swedish conceptualist artist duo Goldin+Senneby, ask him to investigate Headless Ltd., a shadowy company with possible links to the French philosopher Georges Bataille, known for his obsession with human sacrifice. Barlow travels to Nassau, Bahamas, the glitzy mecca of offshore finance, and begins ...
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PublisherTriple Canopy2018
In “International Art English,” Alix Rule and David Levine describe the language of contemporary art by analyzing a corpus of press releases sent by e-flux, which is paid to do so by museums, biennials, publishers, and art fairs in order to reach a subscriber base of more than ninety thousand art professionals. The essay appeared in 2012 and soon surpassed the popularity of every other Triple Canopy publication. “International Art English” generated innumerable conversations about the relationship between language, legibility, and power in the art world: columns in the Guardian, polemics in e-flux’s online journal, debates at conferences for art ...
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PublisherTriple Canopy2020
“I breathe in space lit by sunset and breathe out to any star.” A poem on perception, an exaltation of the senses.
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PublisherTriple Canopy2020
“The sound of being together—or of being packed together, forced together.” An essay on Tina Turner and segregation, the power of the Top 40 and the prospect of being heard without being controlled.
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PublisherTriple Canopy2019
An essay on posthumous caretaking. “My Existential Limits to the Rectification of Past Wrongs, Or, So If You See Me Crying, It’s Just a Sign That I’m Still Alive” by Tiona Nekkia McClodden is part of Risk Pool, the twenty-fourth issue of Triple Canopy, that asks: how are sickness and wellness defined, and by whom? What are the effects of these definitions, these acts of naming and describing?

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