e-flux Journal #82

<p>The critique of bureaucracy slithers like a sewer—hidden, warm, and necessary—beneath the aging towers of the twentieth-century intellectual metropolis. Arising first as one answer to The Question—namely, what happened in the USSR?—bureaucracy eventually came to replace the bourgeoisie as the preferred explanation for why everything was the way it was. To this day, pseudonyms for bureaucracy remain highly fashionable pieces of conceptual hyperbole. Any characterization of instituted sociality as uniform unfreedom—the spectacle, the body without organs, libidinal economics, Empire, Bloom—has its origins in the bureaucratic obsession with control, as distinct from the bourgeois obsession with ownership…</p> <p><strong>Editorial</strong><br /> Editors</p> <p><strong>Art, Technology, and Humanism</strong><br /> Boris Groys</p> <p><strong>The Great Accelerator</strong><br /> Oleksiy Radynski</p> <p><strong>The Poetry of Feedback</strong><br /> Jasper Bernes</p> <p><strong>The Genesis of Technicity</strong><br /> Gilbert Simondon</p> <p><strong>Tracing Avant-Garde Museology</strong><br /> Arseny Zhilyaev</p> <p><strong>On Ketamine and Added Value</strong><br /> Dena Yago</p> <p><strong>Fog or Smoke? Colonial Blindness and the Closure of Representation</strong><br /> Irmgard Emmelhainz</p> <p><strong>ART+ART: The Avant-Garde in the Streets</strong><br /> Hamed Yousefi</p> <p><strong>Cosmic Catwalk and the Production of Time</strong><br /> Anton Vidokle and Hito Steyerl</p>