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
Photography and the Domestication of History at the Margins of Empire
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
