Inspired by the scholars, activists, and everyday citizens who spoke out, marched, and protested against police killings of African-Americans, we present this collection of short essays that put Black lives at the center of our thinking about architecture and its history.

Social change does not simply result from resistance to the existing set of conditions but from adapting and transforming the technical apparatus itself. Walter Benjamin in his essay ‘The Author as Producer’, written in 1934, recommends that the ‘cultural producer’ intervene in the production process in the manner of an engineer. The term ‘engineer’ is to be taken broadly to refer to technical and cultural activity, through the application of knowledge for the management, control and use of power. To act as an engineer in this sense, is to use power productively to bring about change and for public utility. ...

“Today one may complain that life has been reduced to points in a matrix of relations—cities, territories, and historical narratives prematurely refined into categories of known and unknown, real and virtual, concrete and abstract space.” At the time, we could not have imagined the mass migration into abstract space that would soon follow. Today, living through the planetary pandemic, the imperative to navigate the world and our own lives through computational tools has been radicalized to the extreme. The last months of Skyping, Zoom conferencing, and collaborative Google Docs writing make us feel we have no choice but to exhaust ...

In opening the book The White Possessive: Property, Power, and Indigenous Sovereignty (2015), Aileen Moreton-Robinson leads with an epigraph: “The problem with white people is they think and believe that they own everything.” In terms of a critique of the seven-centuries-long rollout and contestation of European dispossessive power, this citation is the alpha and the omega. It is incredibly hard to add anything that isn’t captured within its succinct analysis. Nevertheless, this special issue of e-flux journal goes to work amid the breadth of this statement—seeking greater insight into its truth and the counter-tactics therein through aesthetic study in particular. The essays, ...

If all things in the world can be considered as sources of aesthetic experience, then art no longer holds a privileged position. Rather, art comes between the subject and the world, and any aesthetic discourse used to legitimize art must also necessarily serve to undermine it. Following his recent books Art Power and The Communist Postscript, in Going Public Boris Groys looks to escape entrenched aesthetic and sociological understandings of art—which always assume the position of the spectator, of the consumer. Let us instead consider art from the position of the producer, who does not ask what it looks like ...

Why does it matter that a building looks one way and not another way? Architectural historian Timothy Hyde considers the role of aesthetic judgments in shaping the way that society acts.

Look at Hazards, Look at Losses developed out of a series of conversations, exchanges and visits between kuda.org, Anthony Iles and Marina Vishmidt over 2015-2017 through which different approaches to common problems of cultural production in early-21st century Europe and its peripheries were debated and conceptually probed. Setting out from Theodor W. Adorno’s concept of ‘the aesthetic relations of production’, these discussions proceeded to explore problems bearing upon organisation in small groups in the field of culture, philosophical idealism and materialism, poetry, error, and crisis. The anthology assembled reflects these concerns through engagement with the writing of others who have helped ...

Commissioned by Dia, Daniel Lefcourt’s web project, Modeler, focuses on systems of signs and interferences. The starting point is a grid composed of grayscale stock images of industrial objects and spaces, a seemingly infinite dataset suggestive of what Lefcourt deems “The pleasure of sameness and repetition.” Extending from his current body of work, which emphasizes observation and detail, Modeler invites the visitor to investigate the complex nature of virtual perception. Daniel Lefcourt was born in New York, and received his MFA from Columbia University. Over the past ten years, he has had solo exhibitions at Taxter & Spengemann in New York, ...

Cultural analyst TOBY SHORIN takes us into the Hellmouth of “authenticity” and “originality” production, discussing how the Cthulhu of platform capitalism and distributed networks is evacuating the value of creative work.  

In this book, Rosa Menkman brings in early information theorists not usually encountered in glitch’s theoretical foundations to refine a signal and informational vocabulary appropriate to glitch’s technological moment(um) and orientations. The book makes sense of recent glitch art and culture: technically, culturally, critically, aesthetically and finally as a genre. The glitch takes on a different form in relation to noise, failure or the accident. It transitions between artifact and filter; between radical breakages and commodification processes. Menkman shows how we need to be clearer about the relationship between the technical and cultural dimensions of glitch culture. Honing in on the ...

This book began as a two-part issue of e-flux journal devoted to the question: What is contemporary art? First, and most obviously: why is this question not asked? That is to say, why do we simply leave it to hover in the shadow of attempts at critical summation in the grand tradition of twentieth-century artistic movements? A single hegemonic “ism” has replaced clearly distinguishable movements and grand narratives. But what exactly does it mean to be working under the auspices of this singular ism? Widespread usage of the term “contemporary” seems so self-evident that to further demand a definition of “contemporary ...