Reframe the Network: Parallel Narratives and Media Obsolescence as Post-Digital Publishing Practice

In this article, we try to outline the philosophical and technical background that informs the architecture of our web-based project 'All Sources Are Broken,' an online publishing platform that enables cross-referencing media, as well as an artistic experiment about the archive and hyperlink obsolescence. We also address the artistic practices that contribute to defining the project as a decelerated post-digital strategy, in order to frame it within the context of what we feel like is the main urgency in the scope of information systems today: media and self-education and cultural activism.

What Is Urgent Publishing?

Publishing is increasingly being challenged through instantaneous social media publish- ing, even in the fields of scholarship and cultural, philosophical and political debate. Memetic self-publishers, such as the right-wing 'YouTube intellectual' Jordan Peterson and his left-wing counterpart Natalie Wynn, seem to tap into urgent needs that traditional publishing fails to identify and address. Does their practice amount to a new form of urgent publishing? How is it different from non-urgent publishing on the one hand and from propaganda on the other? Which urgencies can be addressed by urgent publishing? What is the role of artists and designers in it?

Through the Time Barrier: Art and Design in the Digital Age

During the past decade, computers have broken through the barrier of human time. Today, computers can process data in milli-, micro- and even nanoseconds and can (inter) act autonomously in time frames that exceed our capacity to perceive and respond to. This produces a fundamental problem – a gap between human time and the time of computers – and raises important questions: how do big data and fast computation affect our experience and understanding of time? If a computer is able to deal with the world faster than we can, are we doomed to live forever in the past, however near the present? Or are we dealing with a technological extension of the present, and how might we be able to understand and experience this? By analysing theory and works of art, this text examines how to deal with the shock produced by microtemporal technologies.

Time in the Work of Frank Lloyd Wright

This paper contains a first exploration of the question of time in the work of the American architect Frank Lloyd Wright.11 By way of introduction I will start by going back to the treatise of the Roman architect Vitruvius to find a first formulation of the importance of time in architecture in the form of the Latin tempus, meaning time of the day and time of the season. I will then expand on the entanglement of the concepts of templum and tempus, both related to the founding rites of the antique city. Finally, I will make the jump to modernity to see how these concepts still persist in the work of Wright, ending up in the Janus face of a geological and an atmospheric time of architecture.

Ecological Time: Natures that Matter to Activism and Art

The term 'Anthropocene' brings together a range of interrelated ecological catastrophes and relates human history to the time scales of the Earth. While dominant modes of thinking maintain technocratic notions of nature and time, art has (re)presented alternative proposals and practices that radically shift perception. To foreground and strengthen the power of art to challenge core cultural assumptions and motivate change, this text maps out the implications of philosophical positions often referred to by artists. I consider the ideas of Donna Haraway, Bruno Latour, Andreas Malm, Naomi Klein and T. J. Demos, and perform a more indepth inquiry of the aesthetics proposed by Timothy Morton. Two works of art are at the beginning and at the end of this inquiry: Progress vs. Regress (Progress II) and Nocturnal Gardening, both by Melanie Bonajo. A material sense of time appears to be pivotal for art as an agent of change.

Walking Time

Walking Time is a hybrid attempt to go for walk while reading. It is a description of an actual walk as well as a prompt. It is a visual approach to a text containing memories evoked by walking and an invitation to the sensorial presence of the reader.

How Strange, Her Voice: On Mourning, Language, Texture and Time

The combination of text and images in How Strange, Her Voice. The Mourning Diariesallows for the unfolding of two aspects at play in Jesse Ahler's recent work on colour and mourning. One is a reorganisation of time in a book – created as part of the ongoing work How Strange, Her Voice – that attempts to give form to a transformation in and through grief, which defies chronological representation in many ways. Another is the sensation that arises when I think of my parents. Deceased, they are no longer attached to a specific moment in time. Rather, they seem to be everything they ever were – all of it, all at once and all the time – condensations of themselves, which contradicts the idea that they are completely and forever 'gone'. The writing emerged to form a kind of palimpset with the diary Roland Barthes kept after the death of his mother, and the material processes of dying literally gave colour to this transformative, nonlinear process, as an incongruous, impertinent signifier. 'mourning

Text[ure]

In their 'Performance Paper Text[ure]' Korsten & De Jong build a wall-veil out of the audio of the 'Participatory Performance Text[ure]' and theoretical material (the 'text') from the 'Proposal Text[ure].' The wall-veil refers to Ruskin's famous example of the Matterhorn, which he uses to explain the wall-veil as symbolic of the relationship between massing and texture through interdependence. Korsten & De Jong's wall-veil is a mutable subject-object-complex with quotes from different theoretic fields, different eras and different theorists, in which positions shift continuously. Time is seen as a form of simultaneity in which layers fuse to form meaning. Korsten & De Jong regard this process of simultaneity as a middle position and seek it as an opportunity to question existing paradigms artistically.