La condición postnatural

A Book for Disappearance explores themes of extinction and ecology through the lens of contemporary technology and using AI and image-generation platforms as collective tools. It grapples with the contradictions of living in this world full of worlds and full of crises, while revindicating processes of nomadic becoming, transcending fixed identities, and collective emergence. While disappearance may seem abstract or esoteric, it has tangible implications for both individual and collective action. In this book, the concept of disappearance emerges as an alternative, including a variety of short poetic and experimental texts on the multiple possibilities that surface from our engagement with AI alter-egos and a collective artistic exercise with image generation technologies.

Texts by Laura Tripaldi, Institute of Queer Ecologies, and Stacy Alaimo provide further food for thought, and invite readers into recondite explorations—of parasitic spaces and ghost bodies through materialist feminisms; of oak archives and the previous lives that forests can narrate to us; of acid oceans and the psychedelic trips they might afford.

BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, critically discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.

Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.

Many bulbous plants have been dubbed ‘heralds of spring’, but none is more deserving of the title than those carrying actual megaphones to spread the word – daffodils. To know a daffodil is to love a daffodil. Come join our cult.

Including:
I Like the Daffodils – An introduction by Lou-Lou van Staaveren to the genus Narcissus, with amazing photographs by Elspeth Diederix from her garden.
Dafs in Art History – Painters, poets and writers all over the world, have been inspired by the daffodils’ dual aura of macabre and threatening elegance.
The Daffodil Society – The members of The Daffodil Society in the UK promote the genus Narcissus for everyone’s greater pleasure. Photographer Luke Stephenson followed them to various shows where their flowers are reviewed.
How to follow your nose – Philosopher Christopher F. Julien invites us into his fragrant garden where scent mixes with memories with drawings by Pom Koolen.
Artist Tina Farifteh digs into her personal archive and writes a beautiful account of her memories growing up in Iran, and how daffodils have become a staple for New Year’s celebrations and a symbol of hope.

Cover and inside cover by Lou Buche
Centrefold miniatures by Jesse Fischer

CONTRIBUTORS Anna Bierler, India Boxall, Craig P Burrows, Alex Hampshire, Kayla Adara Lee, Marijn van der Leeuw, Melanie Matthieu, Gabriella T Moreno, Amira Prescott, Harrison Pickering, Astarte Posch, Ananda Serné, Zazie Stevens, Gedvile Tamosiunaite, Mia You.

cover image Ananda Serné & Poyen Wang

DAISYWORLD MAGAZINE is a seasonal art publication on perception, the sensory, the non-human, ecology & erotica with an emphasis on interconnectedness. The artist's intimate knowledge based on observation, questioning anthropocentrism through beauty & language. Reflecting on the past season while softly moving into the next, each issue launches in-between seasons; appreciating experience, transition, and metamorphosis instead of anticipating the next big thing.

Things Bigger Than What Can Be Seen is a collection of Oraib Toukan’s essays, translated to Arabic for the first time. In close dialogue with Palestinian pedagogue Munir Fasheh on the topic of turbeh (local soil in Arabic), Toukan crafts a haptic perspective on images from what she terms their ‘soil grain’.

Mud … and the Earth System explores groundbreaking research in Earth system sciences and highlights the challenges of communicating these findings to the public.

As once-stable “mudscapes” transform, they become both symptoms and symbols of a rapidly warming planet. This book delves into humanity’s connection to these changes through the study of ancient organic and inorganic compounds that have come alive after millennia. It poses essential questions about what these evolving ‘mud’ compounds reveal about Earth’s deep past and our imminent future.

Born from collaborative research led by artist Rikke Luther at the Interdisciplinary Research of Ocean, Climate and Society (ROCS) at the University of Copenhagen in collaboration with Earth scientist, Professor Katherine Richardson, this publication showcases how artistic practices – such as image-making, conceptual mapping, and filmmaking – enhance scientific representation.

Mud… and the Earth System features commissioned essays from experts in Earth Science, Political Aesthetics, and Molecular Geobiology. The book pairs their insights with compelling artwork, including large-scale maps of emerging ‘mudscapes’ in Svalbard, Iceland, Greenland, and Gotland.

The essays give perspectives on the DNA that is collected and stored in mud, which connects life across timescales as an evolutionary resource framing the interactions of human societies with the extreme complexities of the Earth system. Esther Leslie’s “Mud Crystal and Polar Thinking” sets the scene, followed by Karina K. Sand’s “Death and Life:  in Mud: Two Million Years in a Split Second,” and Earth scientist Katherine Richardson’s contribution “A Muddy Diary.”

As Richardson sums up, “Mud is an important medium for storing the archives that describe the history of both life and climate on Earth, and we are only just beginning to understand the fantastic stories that mud can tell.”

Contributions by Esther Leslie, Rikke Luther, Katherine Richardson, Karina Sand