“A Better Idea than the Best Constructed Charts”: Watercolor Views in Early British Hydrography
“The Medium Is Leaking”: Notes on the Work of Pierre Huyghe and the “Ecologization” of Contemporary Art
‘Out to See Video’: EZTV’s Queer Microcinema in West Hollywood
A Discussion on the Global and the Universal
A Proposal: Must We Ecologize?
Allan Sekula’s Ship of Fools/ The Dockers’ Museum
An Artificial Mind in Mexico City (Autumn 1559)
An Eternal Esthetics of Laborious Gestures
Arresting Figures
Beyond the Line, or a Political Geometry of Contemporary Art
Beyond the Sea-Land Divide: A World Map
Carl Einstein’s History without Names: From Geology to the Masses
Cinema against the Permanent Curfew of Geometry: Guy Debord’s Sur le passage de quelques personnes à travers une assez courte unité de temps (1959)
Cleverness and Drive, or the Cybernetic Fantasy of Value: R.S. Hunt’s “Two Kinds of Work”
Constructed Situations, Dynamic Labyrinths, and Learning Mazes: Behavioral Topologies of the Cold War
Counter-forensics and Photography
Dance of Values: Reading Eisenstein’s Capital
Death from Above in Minard’s Napoleon Map
Doubling Time
Economies of the Interior: Thomas Hope and Interior Decoration
Envisioning Reform: The International Hotel in Postrevolutionary China, 1974-1990
Everyday Myth
Extralegal Portraiture: Surveillance, between Privacy and Expression
Found Paintings, Disassembled Movies, World Images
From Paperwork to “Mechanized Administration”: Designing the Bureaucracy of Self-Management in Postwar Yugoslavia
Guy Debord and the Cultural Revolution
Guy Debord’s Time–Image: In girum imus nocte et consumimur igni (1978)
Guy Debord, Filmmaker
How to Hear What Is Not Heard: Glenn Ligon, Steve Reich, and the Audible Past
Hurlements en faveur de vous
In Light of the Arc
Infrastructures of “Legitimate Violence”: The Prussian Settlement Commission, Internal Colonization, and the Migrant Remainder
Introduction to François Ewald’s “The Values of Insurance”
Letter to an Encyclopedic Museum Curator
Loquacious Objects: Contemporary Iranian Art, Autotranslation, and the Readings of Benevolence
Making the “World Spectacle Trial”: Design as Forensic Practice at the Nuremberg Trials
Michael Rakowitz’s The Invisible Enemy Should Not Exist
Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’
Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford
More Liquid than Liquid: Solid-Phase Bitumen and Its Forms
Multimedia Environments and Security Operations: Expo ‘70 as a Laboratory of Governance
News from Nowhere: Participatory Design in the Scandinavian Workplace
Notes on Utopia, the City, and Architecture
On “About Grey Room”
On Pierre Huyghe’s UUmweltanschauung: Art, Ecosystems Aesthetics, and General Ecology
Outdating: The Time of “Culture” in Colonial Egypt
Photography and the Limits of National Identity
Post-Election Artists Dossier
Praxis and Action: Toward Building as a Collective Practice in Postwar Yugoslavia
Representing the American Welfare State
Rethinking Sekula from the Global South: Humanist Photography Revisited
Self-Suggestion in the Tuskegee Machine: Technical Drawing under Jim Crow
Shadows of Expectation: Robert Hooke’s Picture Box and the Visual Economy of Projection
Snowdrops Bloom in September
Socialist Multimedia Warfare: Cine-Exhibition of Class Struggle in 1960s China
Sol Worth, Film Theory, and the Politics of the Bio-Documentary
Strangeloves: From/De la région centrale, Air Defense Radar Station Moisie, and Media Cultures of the Cold War
Ten Short Notes on Color, Anthropology, and Makeup
The Chorein of the Pirate: On the Origin of the Dutch Seascape
The Constitution of Rural Labor
The Dialectic of the University: His Master’s Voice
The Flying Proletarian: Soviet Citizens at the Thresholds of Utopia
The Hot Noise of Open-Air Cinema
The Image of the (Inner) City: Frederic D. Moyer and Carceral Aesthetics in the Great Society
The Labor of Authorship: Harun Farocki’s Early Writing
The Media Arcane
The Other End of the Trajectory: Danger Zones
The Secret History of Science and Modernity: The History of Science and the History of Religion
The Smartness Mandate: Notes toward a Critique
The Subject of Black: Abstraction and the Politics of Race in the Expanded Cinema Environment
The Values of Insurance
The West Berlin Staatsbibliothek and the Sound Politics of Libraries
The Word Processing of Watergate and the Metaphysics of Information
The World Solar Energy Project, ca. 1954
Theses on the New Öffentlichkeit
Vacuum Cleaner or Submachine Gun: A Traveling Cinema for Engineers
Walter Benjamin’s Media Theory: The Medium and the Apparat
When We Were on the Shenandoah
With and Against Cinema
