With the term chrononormativity, Elizabeth Freeman describes a timeliness that is following a normative regime. A “deviant chronopolitics,” she says, is one that envisions “relations across time and between times” that upturns developmentalist narratives of history (Freeman, 58, 63). Lorenza and many others have become agents in a deviant chronopolitics and the cripping of art history. Crip Magazine collects artifacts of this transhistorical crip (sub)culture. It relates to historical struggles, aiming to create trans-temporary connections and communities across time. Desire, time traveling, and fragmented bodies are some of the themes that connect the different pieces in this volume…

Crypto collapse! Simply HODL and stay with us while we talk with Wassim Z. Alsindi: veteran of the timechain, founder and host of the 0x Salon, conducting experiments in post-disciplinary collective knowledge practices. Wassim specialises in conceptual design and philosophy of peer-to-peer systems. Today he guides us through the speculative hellscape.

We can now say with some certainty that one advantage of the Cold War was that it placed many of the complexities and contradictions of economic problems within a clear and singular binary between capitalism and communism. On top of that, arguments in favor of one or the other had massive geopolitical blocs backing them, and the sheer scale alone was enough to draw any economic argument into the tide of one side or the other. This made it only natural for dominant narratives following the dismantling of communism to profess the triumph of capitalism. However, it is only now ...

Released on October 8, the second issue of the Occupied Wall Street Journal included an editorial note entitled “No list of demands,” responding to the perceived absence of strong messaging offered by the movement. The note specified that: The exhausted political machines and their PR slicks are already seeking leaders to elevate, messages to claim, talking points to move on. They, more than anyone, will attempt to seize and shape this moment. They are racing to reach the front of the line. But how can they run out in front of something that is in front of them? They cannot. For Wall Street ...

Americans against capitalism? Arab nations toppling autocrats through peaceful protests? 2011 has been a year of massive popular uprisings—on a completely unexpected scale and from populations that were thought to have been thoroughly subdued. Commentators have predicted that discontent in the Arab world would soon come to a head for so many years that it was beginning to seem unlikely, just as others had begun to dismiss the political potency of popular demonstrations in fiscalized Western democracies. For those who started to think that large-scale, radical optimism was naïve or nostalgic, the events of the past year should be sufficient ...

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. But first, how did this happen? How did a form of communication—developed in the late 1950s with a well-funded US Defense Department initiative in response to the Sputnik threat, then blossoming in the hands of engineer-entrepreneurs in the Silicon Valley of the 1970s into the center of accelerated hyper-capitalism in the 1990s—evolve to become ...

The exhibition The Future of Memory is accompanied by an e-book, introducing essays by Clint Burnham, Michael Connor, and Nicolaus Schafhausen, alongside a detailed presentation of the works exhibited in the show, written by co-authors Marie Egger, Emilie Lauriola and Vanessa Joan Müller. Digital communication and virtual interlacing shape our world today and influence our collective memory. Remembering the past, experiencing the present and imagining the future all meld to become part of a seemingly equivalent imagery in digital space. The Future of Memory critically challenges constructions of reality and investigates the conditions under which individual and collective memory evolve.

In what ways could we imagine a world different from the one in which we currently live? This is the question addressed by the essays and conversations in Futures and Fictions, which explore possibilities for a different “political imaginary”. With discussions around decolonization, new Afro- and other futurisms, post-capitalism, science fiction, and new kinds of social movements – and the intersections of these with contemporary art practice and visual culture – Futures and Fictions creates a space for alternate narratives and image-worlds that might be pitched against our neoliberal present. With contributions from Mark Fisher, Ursula Le Guin, Kodwo Eshun ...

Nostalgia is the defining emotion of our age. Political leaders promise a return to yesteryear. Old movies are remade and cancelled series are rebooted. Veterans reenact past wars, while the displaced across the world long for home. But who is behind this collective ache for a home in the past? Do we need to eliminate nostalgia, or just cultivate it better? And what is at stake if we make the wrong choice? Moving from the fight over Confederate monuments to the birth of homeland security to the mourning of species extinction, Grafton Tanner traces nostalgia’s ascent in the twenty-first century, revealing ...

The noisy buzz of the mains electricity power supply has been one of our urban environment’s most persistent background noises. One day in 1996 Dr Catalin Grigoras realised that the electricity wasn’t just making noise, but in fact singing… The UK national electrical grid delivers power across the country. This mains power supply makes a constant humming sound, yet there are tiny changes to the frequency of this sound every second. Most recordings made in the UK have a trace of mains hum on them and this can be forensically analysed to determine the time and date they were made, and ...

Shifter’s eighteenth issue gathers conversations and interviews between various cultural practitioners that elaborate on the subject of intention. To intend is to have a conception of the future. To direct and extend attention to a moment that is yet to arrive. To construct a contingent model of the future, while negotiating and adjusting it at any given moment against countless uncertainties, thus providing the greatest possible chance of this future’s arrival. To reflect upon an action and determine its intention is then to trace the arc of this willed movement – looking back, culling through layers of events, interactions, and gestures, ...

In the summer of 1975, NASA recruited architects, artists, and urban designers to envision, alongside engineers and physicists, large-scale cities in space. Fred Scharmen revisits the imagery of this older future.