Image/Vessel/Waste
“Minimum Constellation Necessary for Type Confusion”: Letters to Norbert Wiener
“Terrestrial Not by Nature and Essence”: The Acclimatization Chamber as Surface Technology in South Africa, ca. 1958
“The Higher Forms Are Also the Weaker Ones”: Technics and Humanism in Max Bense’s “Technical Existence”
“The Idea Was in the Air”: Nadar’s Aerial Media
“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
(Audio-Visuals)
The Nature of Play: Part 1, River Otters
A Black Carpet of Bitumen
A Feedback Situation: Dennis Oppenheim’s Cybernetics of the Family
A Picture of Health: The Search for a Genre to Visualize Care in Late Ottoman Istanbul
A Proposal: Must We Ecologize?
A Self-Portrait of Christ or the White Noise of Photography? Paul Vignon and the Earliest Photograph of the Shroud of Turin
Academic Networks 1982/2016: The Provocations of a Reading
Air as Medium
Algorithmic Images: Artificial Intelligence and Visual Culture
An Artificial Mind in Mexico City (Autumn 1559)
An Eternal Esthetics of Laborious Gestures
Architecture Photographs
Articulated Flatness: Document Culture and Modernism in the Mundaneum and Beyond
Artificial Worlds and Perceptronic Objects: The CIA’s Mid-century Automatic Target Recognition
Atmospheric Regulation in the Panorama
Automaton Religion and the National Body: Ajeeb in Brazil
Bad Brains: Cybernetics, Paranoia, and the Cognitive Science of Religion
Catacoustic Enchantment: The Romantic Conception of Reverberation
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”
Click, Pulse: Frederico Morais and the Comparative Slide Lecture
Coding as Cultural Technique: On the Emergence of the Digital from Writing AC
Coming Attraction: The Event of Color, Techniques of Screening and Filtering in Early “Natural” Color Film and Photography
Constructed Situations, Dynamic Labyrinths, and Learning Mazes: Behavioral Topologies of the Cold War
Contingent Cubism
Contractual Practices
Curve, Line, Circle, Slash, Cross: A Diagram of Liquid Intelligence
Dance of Values: Reading Eisenstein’s Capital
Death from Above in Minard’s Napoleon Map
Desktop Arenas: Magazine Pieces and the Professions of the Neo-Avant-Garde
Does Bolsonaro Have a Point? (Or Does He Have a Semicolon?)
Editor’s Introduction
Editor’s Introduction: What Bound the Double Bind?
Editors’ Introduction: Pious Technologies and Secular Designs
Editors’ Introduction: The Aerial Image
Environments of Experimentation and Epistemologies of Surroundings: John Scott Haldane’s Physiology and Biopolitics of the Living
Envisioning Assembly: Archigram and the Light/Sound Workshop
Everyday Myth
Fiber Optics
Fieldnotes from Solaris: Ship’s Logs, Shipwrecks, and Salt Water as Medium
Figures of Closure: Circles and Cycles in the History of Ecological Knowledge
Film Courses in Art Schools
From Microform to the Drawing Bot: The Photographic Image as Data
From Paperwork to “Mechanized Administration”: Designing the Bureaucracy of Self-Management in Postwar Yugoslavia
Geo-psychiatry: Media and the Ecologies of Madness
Global Patterns: Hannah Höch, Interwar Abstraction, and the Weimar Inflation Crisis
Guy Debord and the Cultural Revolution
Guy Debord’s Time–Image: In girum imus nocte et consumimur igni (1978)
Hurlements en faveur de vous
I.M. Pei’s JFK Library, in Poetry, Prose, and Meeting Minutes
If a Painting Is Like a Window, Is It a Means of Ventilation?
In Light of the Arc
Inside: Out
Instant Failure: Polaroid’s Polavision, 1977–1980
Interaction Chronograph: The Administration of Equilibrium
Introduction to François Ewald’s “The Values of Insurance”
Introduction to Wölfflin’s “On Right and Left in Images”
Life, Not Itself: Inanimacy and the Limits of Biology
Liquid Crowds: Regulatory Discourse and the Architecture of People Flows in the Nineteenth Century
Liquidity, Technicity, and the Predictive Turn in Chinese Ceramics
Magic Waves, Extrasensory Powers, and Nonstop Instantaneity: Imagining the Digital beyond Digits
Making the “World Spectacle Trial”: Design as Forensic Practice at the Nuremberg Trials
Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’
Mood as the Content of Modern Art
Mood for Modernists: An Introduction to Three Riegl Translations
More Liquid than Liquid: Solid-Phase Bitumen and Its Forms
Multimedia Environments and Security Operations: Expo ‘70 as a Laboratory of Governance
Necessary Variation and Variety
News from Nowhere: Participatory Design in the Scandinavian Workplace
On “About Grey Room”
On Pierre Huyghe’s UUmweltanschauung: Art, Ecosystems Aesthetics, and General Ecology
On Wires; or, Metals and Modernity Reconsidered
Operations of Culture: Ernst Kapp’s Philosophy of Technology
Out of Reach: Photographs of Child Nudists
Outdating: The Time of “Culture” in Colonial Egypt
Pearce v. OMA: Architectural Authorship on the Courtroom Table
Pocket Wireless and the Shape of Media to Come, 1899–1922
Quantum Computing and the Analog/Digital Distinction
Recording on Film, Transmitting by Signals: The Intermediate Film System and Television’s Hybridity in the Interwar Period
Religious Horizons in New York’s 1920s
Roman Death Masks and the Metaphorics of the Negative
Scrutinizing: Film and the Microanalysis of Behavior
Selections from Elements of a Philosophy of Technology
Self-Suggestion in the Tuskegee Machine: Technical Drawing under Jim Crow
Seurat’s Media, or a Matrix of Materialities
Shadows of Expectation: Robert Hooke’s Picture Box and the Visual Economy of Projection
Signs and Sight: Jacques Bertin and the Visual Language of Structuralism
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
Something One Recognizes Yet Can’t See: Andy Warhol in and as Media
Space within Space: Artificial Reverb and the Detachable Echo
Spacing and Sounding Out
Stacks, Shelves, and the Law: Restructuring the Library of Congress
Strangeloves: From/De la région centrale, Air Defense Radar Station Moisie, and Media Cultures of the Cold War
Taylorism Transfigured: Industrial Rhythm and the British Factory
Technical Existence
Ten Short Notes on Color, Anthropology, and Makeup
The Chorein of the Pirate: On the Origin of the Dutch Seascape
The Architectural Postcard: Photography, Cinema, and Modernist Mass Media
The Coupling of Cinematics and Kinematics
The Cunning of Sir Sloshua: Reynolds, the Sea, and Risk
The Dialectic of the University: His Master’s Voice
The Family as Machine: Film, Infrastructure, and Cybernetic Kinship in Suburban America
The Hot Noise of Open-Air Cinema
The Media Arcane
The Ontology of the Pornographic Image: The Meese Commission and the Rise of Sexual Media
The Origin of Geometry
The Phantasmagoric Dispositif: An Assembly of Bodies and Images in Real Time and Space
The Science of Fun and the War on Poverty
The Secret History of Science and Modernity: The History of Science and the History of Religion
The Shot Is Fired Unheard: Sigmund Exner and the Physiology of Reverberation
The Smartness Mandate: Notes toward a Critique
The Values of Insurance
The Veins of Pennsylvania: Benjamin Franklin’s Nature-Print Currency
The Word Processing of Watergate and the Metaphysics of Information
Theses on the New Öffentlichkeit
Thinking through Noise, Building toward Silence: Creating a Sound Mind and Sound Architecture in the Premodern City
Trompe L’oeil and Financial Risk in the Age of Paper
Unfolded, Not Opened: On Bernhard Siegert’s Cultural Techniques
Unpublished Preface to Discourse Networks
Vacuum Cleaner or Submachine Gun: A Traveling Cinema for Engineers
Vampire Squid Media
Vegetal Gestures: Cinema and the Knowledge of Life in Weimar Germany
Virtual Space, Bodily Matter: Bruce Nauman’s Holograms
Walter Benjamin’s Media Theory: The Medium and the Apparat
Watery Milieus: Marine Biology, Aquariums, and the Limits of Ecological Knowledge circa 1900
When We Were on the Shenandoah
With and Against Cinema
