This SDUK broadsheet is the first to follow The Work of Wind: Air, Land, Sea, a ten-day contemporary art festival engaging with climate change, environmental crisis, and resilience which took place in Mississauga’s Southdown Industrial Area in September 2018. Taking BEARING as its theme, this issue turns our attention to alienation, affect, anxiety, and questions of responsibility and resilience. For curious readers of all persuasions—those new to the project and those who have been following its year-long unfurling—here are some places to begin: If you are wondering how can we enact responsibility to humans and nonhumans in bleak political and ecological ...

This SDUK broadsheet takes COMMUTING as its theme. Alongside the most familiar usage of “commuting” (moving to and from work), the contributions in this issue touch on many aspects of circulation, migration, and change that are flowing across and rumbling below the surface of the Earth. As this publication platform traces the diffusion of knowledge, this issue in particular explores the shifts, displacements, and movements we must consider in an age of rapid global change in order to commute the Earth’s death sentence. We know you open this broadsheet with many questions, interests, and curiosities already formed, so here are ...

In 2018 [NAME] Publications launched dispatches, an online journal that explores the cross-cutting relations between everyday and formalized cultural production and the enduring colonial logic of capitalism. Published in Spanish and English, each issue of the journal offers a variety of contributions that analyze emergent tendencies that cast their lot with anti-extractivist and climate struggles, alert us to cultural and territorial dispossession, highlight new forms of resistance and epistemological reconfigurations, and in the process offer a prism through which to read the complex configurations that define our contemporary moment.

The first issue of The Distance Plan journal outlines an idea: that distance is a useful metaphor for talking about climate change. It contains essays, an interview and artworks which speculate on the possibilities, and implications, of this image of distance. Published at a time when popular awareness of climate change—particularly in the context of the arts—was significantly underrepresented, this journal primarily sought to heighten visibility and stimulate discussion.

What if history actually did end with the fall of communism and the end of the cold war, as Fukuyama claimed, and we are now enjoying some kind paradise of liberal democracy with no better political framework to strive towards? Or, what if a recognition of exploitation and social inequities actually is leading to a massive workers’ revolution that will reclaim the means of production and lead to a more equal distribution of resources and power—whether Marxist, democratic, or otherwise? Indeed, we are unsure whether we are still inside of an idea of progressive social emancipation and human self-realization that defined the modern era, ...

Indentured to the past, we drag our inherited identities through a forest of networks bursting with mysterious intellectual fruit. We’re not sure which concepts are poisonous and which are safe. History is like a mistranslated phrasebook full of old-fashioned illustrations which everyone makes fun of on the internet. Attempts at organization feel fanciful and absurd: eclectic inventories of apocalypse-kitsch. In “A Palace of Unsaids,” Rob Goyanes considers the work of mourning under twenty-first century conditions. Does it matter if we show up to the wrong shift at the memorial-factory as long as we do our time?… Editorial Editors Armed Response: Translation as Judicial ...

The modern arrives when the boundaries dividing old and new become sites of struggle in the way that the divide between the sacred and the profane was previously. These distinctions—old/new, sacred/profane—are strategic: they refer to one embedded position in the life-world relative to another. In the October 2017 issue of e-flux journal, Noemi Smolik shows how, within Russia, the deployment of modernizing iconoclasm against the belief systems of Russia’s rural poor confounded distinctions between old and new, sacred and profane, even before the October Revolution and the Russian avant-garde. Aleksandra Shatskikh diagnoses a contemporary symptom of this misrecognition in the attribution ...

Writer and researcher Sam Moore speaks about his new book, with Alex Roberts, THE RISE of ECOFASCISM: CLIMATE CHANGE AND THE FAR RIGHT (Polity, 2022), which finds, in the dissolution of pre-millennial frameworks for climate, capital, and governance, conditions that are ripe for the re-emergence of fascist formulations of power. We talk to Sam about the interface between humans and the natural world; the return of trad values; and strategies for climate change mitigation that short-circuit the instrumentalization of nature as a tool for capitalist expansion and/or a race-based ordering of the world. Sam is also a co-host of the ...

Albert Speer is one of the most infamous architects in history. During his time working for the Nazi Party he was responsible for designing the Reich Chancellery and the Zeppelinfeld stadium in which the Nuremberg rallies took place, as well as being in charge of Germany’s war production during the Second World War and being slated to plan the massive reconstruction Berlin as Germania. Yet by emphasising his detachment from the general conditions he was able to avoid the death sentence after the war. While his is an extreme example, it offers a compelling jumping off point to explore the wider ...

For An Oil Free Future is a mini-series of protest videos against fossil fuel prospection and extraction (oil and natural gas) off the Portuguese coast (offshore) and in land (onshore) through fracking. Synopsis: In a dystopian future in which oil extraction has become a catastrophic reality in Portugal, a citizen-journalist looks back and questions how it was possible to go ahead with such plans. Over the last few years, and particularly in 2015 under the former PSD/CDS-PP right-wing government, several contracts were signed between the Portuguese State and major oil companies (Galp, Partex, Repsol, Eni, Australis, Cosmos and the controversial Portfuel). The matter ...

Worldmaking is based on a talk by Maria Lind, a curator, writer and educator from Stockholm, currently serving as a counsellor of culture at the embassy of Sweden in Moscow. In her contribution she states out the unique force of Marion von Osten when it comes to cultural production including curating. Via the photo-based collage work The Glass of Petrol by artist Agnieszka Polska, Maria Lind talks about the macro- and microlevel of climate change and the agency of art in relation to a revitalized and accelerated understanding of the art’s own relevance and its imaginative and projective qualities…

The authors articulate the foundations of a future manifesto for an Internet of Things in the public interest. Nold and Kranenburg propose tangible design interventions that challenge an internet dominated by commercial tools and systems, emphasizing that people from all walks of life have to be at the table when we talk about alternate possibilities for ubiquitous computing. Through horizontally scaling grass roots efforts along with establishing social standards for governments and companies to allow cooperation, Nold and Kranenberg argue for transforming the Internet of Things into an Internet of People.