And so on, a single universe

Electrifying, provocative, and controversial when first published thirty years ago, Donna Haraway's "Cyborg Manifesto" is even more relevant today, when the divisions that she so eloquently challenges—of human and machine but also of gender, class, race, ethnicity, sexuality, and location—are increasingly complex. The subsequent "Companion Species Manifesto," which further questions the human-nonhuman disjunction, is no less urgently needed in our time of environmental crisis and profound polarization.

Manifestly Haraway brings together these momentous manifestos to expose the continuity and ramifying force of Haraway's thought, whose significance emerges with engaging immediacy in a sustained conversation between the author and her long-term friend and colleague Cary Wolfe. Reading cyborgs and companion species through and with each other, Haraway and Wolfe join in a wide-ranging exchange on the history and meaning of the manifestos in the context of biopolitics, feminism, Marxism, human-nonhuman relationships, making kin, literary tropes, material semiotics, the negative way of knowing, secular Catholicism, and more.

The conversation ends by revealing the early stages of Haraway's "Chthulucene Manifesto," in tension with the teleologies of the doleful Anthropocene and the exterminationist Capitalocene. Deeply dedicated to a diverse and robust earthly flourishing, Manifestly Haraway promises to reignite needed discussion in and out of the academy about biologies, technologies, histories, and still possible futures.

Donna J. Haraway is distinguished professor emerita in the History of Consciousness Department at the University of California, Santa Cruz, where she is also affiliated with the departments of anthropology, feminist studies, environmental studies, and film and digital media. She is an active participant in UCSC's Science and Justice Research Center and the Center for Cultural Studies.

Published 2016

Tips of the Sung is a collection of interdisciplinary texts from Samuel Brzeski composed over the five years whilst he was Associate Artist at Lydgalleriet. The collection brings together performance scripts for voice and video with newly composed texts for the page. Centring on the vibrations of the voice, the texts exist somewhere between signification and delirium, at times making more sound than sense. 

The texts are full of bumbling mumbles, meandering hums, homophones, inner voices, affirmations, motivations, subvocalisations, resolutions, errors in speech production, peach seduction, car maintenance manuals, self-help fallacies, roomy echo chambers, overheard language lessons, morning meditations, and other forms of verbal rehearsal at the limits of language.

On the rich history of video art and its enduring relevance to today's artistic and critical practices. 

The New Television delves into the rich history of video art, reexamining the pivotal Open Circuits conference held at MoMA in 1974 and exploring its enduring relevance to today's artistic and critical practices. Open Circuits was an important event in establishing video art in American museums and articulated a range of conflicting teloses for the medium, some which materialized (like local cable television) and others that remain unrealized. The conference proceedings were published in 1977 as The New Television: A Public/Private Art, and the radical design of the book reflected the conference's utopian aims. 

This two-part publication includes a facsimile of the long-out-of-print conference proceedings and new essays and discussions by over a dozen scholars and artists. The new scholarly texts and previously unpublished archival documents in The New Television illuminate the network of institutional histories of video art, consider global televisual contexts and alternative critical approaches, and examine contemporary video art and its continued relevance from new perspectives.

Rachel Churner is the director of the Carolee Schneemann Foundation. She is also an art critic and editor, whose writings have appeared in Artforum and October magazine, among other publications. She was a recipient of the 2018 Creative Capital/Andy Warhol Foundation Arts Writers Grant and is the editor of multiple books, including Jacqueline Humphries: jHΩ1:) (2022); Yvonne Rainer: Revisions (no place press, 2020), Hans Haacke (MIT Press, 2015), and two volumes of writings by film historian Annette Michelson (MIT Press, 2017 and 2020). Churner is a faculty member at Eugene Lang College at The New School, New York.

Rebecca Cleman is Executive Director of Electronic Arts Intermix (EAI) and a writer. She has programmed screenings and special projects for such venues as the International House Philadelphia; the Museum of Art and Design, Anthology Film Archives, and Andrea Rosen Gallery, New York City; and the Julia Stoschek Collection, Germany; and organized or co-organized many events for EAI, including a panel discussion on the films of David Wojnarowicz and a conversation between Hilton Als and The Wooster Group's director and co-founder Elizabeth LeCompte.

Tyler Maxin is curator at Blank Forms. He was previously the Communications and Special Projects Associate at Electronic Arts Intermix (EAI). His writing has appeared in publications including Artforum, BOMB, and Film Comment.

A Book Knot Book is a 208 pages long performance, the first from the research and publishing initiative Body Text. In this study of language in action systems of meaning-making crash, sparkle and swoon. In a playful voice over A Book Knot Book self-reflects on the materialities and choreographies of publishing, reading and writing. With guest stars in fragments; Monique Wittig, Yvonne Rainer, Cristina Rivera Garza, Amiri Baraka, Will Rawls, David Abram, Thich Nhat Hanh and more. 

Edited and designed by Sara Kaaman. Published with the support of Stockholm University of the Arts.

Peter Downsbrough (New Jersey, US, 1940) lives and works in Brussels (Belgium). Associated with major international art movements such as minimal art, conceptual art, and visual poetry, his work spans across various mediums including sculpture, wall pieces and room pieces, books, work on paper, photography, film, and video. The work, which has affinities with architecture and typography, explores the traditional use of space and language, while criticizing power structures, e.g. urbanism, that influence social interactions and shape the landscape.

A special edition issue curated, designed and published by AVARIE, Paris and Labor Neunzehn, Berlin. It accompanies KAMERA SERIES, while it is an independent and valuable object to collect.

The central idea that informs and directs the booklets’ montage is the interplay between the concepts of addition and subtraction. This is achieved by unveiling a missing image in the screening or an unreleased second from an artist's film, expanded to 24 pages. Additionally, each booklet contains a piece directly removed from the show.

The editing establishes a dialogue between film frames and performed writings derived from texts, scripts, storyboards, and notes. The KAMERA exhibition is consequently extended into a physical space—the book—allowing for its widespread dissemination, complementing and contrasting with its potential online occurrence.

KAMERA SERIES is a screening program of experimental films, video art works and printed matter taking place in a former GDR building in Berlin. Each event showcases a retrospective of selected films by an artist and a small exhibition of his/her publications or works on paper over a span of 4 days.

I am Welton Santos reenacts a dialogue between the Brazilian geo-bio-architect Welton Santos and an Interviewer. The book, which is always read collectively, is used in reading performances by groups of at least 3 people.

Printed on the occasion of an artist residency at PAV, Parco d’Arte Vivente, Turin, July 2016. Texts based on transcripts of interviews with Welton Santos.