Saturday, February 16, 2019


     above the grayblack wastes.
     A tree-
     high thought
     grasps the light-tone: there are
     still songs to sing beyond

Paul Celan 

Saturday, February 9, 2019

Sun Surrounds Me

Sun Surrounds Me, 2019
Metal, ceramics, wood, acrylic 
36 x 27 x 43 cm 

Wednesday, January 30, 2019

Q&A Goes Horribly Wrong

Q&A Goes Horribly Wrong

Classicists engage in frequent debate about whether the field is “too white,” whether Western civilization is a manufactured idea and what new lines of inquiry will ensure classics’ continued relevance -- or even its survival.
But at an annual gathering of classicists this weekend in San Diego, that debate crossed the line from professional to personal, from real inquiry to racism.
The incident involved an attack on Dan-el Padilla Peralta, an assistant professor of classics at Princeton University, by an independent scholar named Mary Frances Williams. It happened during a question-and-answer period at a panel on the future of classics Saturday at a Society for Classical Studies conference.
Panelists included Peralta, who spoke about an alleged incident of racial profiling at the conference site, in which two classicists of color were stopped and asked for identification. He also cited classics journal publication data showing that authors are largely white, and pushed for diversification of the field. Another speaker was Sarah Bond, an associate professor of classics at the University of Iowa whose research and public outreach often focuses on the idea that our notions of race in the classical world are much more informed by Eurocentric Renaissance views than historical reality.
Scott Jaschik contributed to this article

The Breath of the Olive Tree

Hiva Panahi

Thursday, January 17, 2019

Rethinking Repair

Rethinking Repair 
 “There is a crack in everything. That’s how the light gets in.” Leonard Cohen, Anthem

What world does contemporary information technology inhabit? Is it the imaginary nineteenth-century world of progress and advance, novelty and invention, open frontiers and endless development? Or the twenty-first- century world of risk and uncertainty, growth and decay, and fragmentation, dissolution, and breakdown? 
This chapter is an exercise in broken world thinking. It asks what happens when we take erosion, breakdown, and decay, rather than novelty, growth, and progress, as our starting points in thinking through the nature, use, and effects of information technology and new media. Broken world thinking is both normative and ontological, in the sense that it makes claims about the nature of technology and its relationship to broader social worlds, some of which may differ from deep rooted cultural assumptions. But it is also empirical and methodological, an argument and provocation toward doing new and different kinds of research, and new and different kinds of politics, in media and technology studies today. 

 Text by Steven J. Jackson 

Sunday, January 13, 2019

You're all around me but you may not be there

You're all around me but you may not be there, 2018
acrylic, oil, pencil and oil pastel on canvas
150 x 150 cm

Saturday, January 12, 2019

Childhood's End The digital revolution isn’t over but has turned into something else

Childhood's End

The digital revolution isn’t over but has turned into something else

All revolutions come to an end, whether they succeed or fail.
The digital revolution began when stored-program computers broke the distinction between numbers that mean things and numbers that do things. Numbers that do things now rule the world. But who rules over the machines?Once it was simple: programmers wrote the instructions that were supplied to the machines. Since the machines were controlled by these instructions, those who wrote the instructions controlled the machines.
Two things then happened. As computers proliferated, the humans providing instructions could no longer keep up with the insatiable appetite of the machines. Codes became self-replicating, and machines began supplying instructions to other machines. Vast fortunes were made by those who had a hand in this. A small number of people and companies who helped spawn self-replicating codes became some of the richest and most powerful individuals and organizations in the world.
Then something changed. There is now more code than ever, but it is increasingly difficult to find anyone who has their hands on the wheel. Individual agency is on the wane. Most of us, most of the time, are following instructions delivered to us by computers rather than the other way around. The digital revolution has come full circle and the next revolution, an analog revolution, has begun. None dare speak its name.Childhood’s End was Arthur C. Clarke’s masterpiece, published in 1953, chronicling the arrival of benevolent Overlords who bring many of the same conveniences now delivered by the Keepers of the Internet to Earth. It does not end well.
Text by George Dyson

Tuesday, January 8, 2019

Painted Stone

Andrea Büttner, Painted Stone, 2017 

Cosmology Blues

Robert Daseler

Sunday, December 23, 2018

Saturday, December 8, 2018


Pierre Verger, Salvador, Brazil 1946-50

Picture Ecology: Art and Ecocriticism in Planetary Perspective

Picture Ecology: Art and Ecocriticism in Planetary Perspective

Growing awareness and concern about the pervasive and advancing scope of global environmental crises have in recent years prompted a new area of interdisciplinary research: the environmental humanities. Efforts have coalesced around the fields of anthropology, philosophy, history, literature, and now art history, as scholars seek to enlarge upon the traditional anthropocentrism of the humanities and embrace
a more expansive consideration of nature, ecology, and changing understandings of them. “Picture Ecology: Art and Ecocriticism in Planetary Perspective” engages this vital new trajectory, bringing together seventeen speakers from a variety of perspectives to explore environmental dimensions of artistic expression across a range of periods and cultures. The symposium is convened in connection with the exhibition Nature’s Nation: American Art and Environment, on view at the Princeton University Art Museum, which reinterprets American art over three centuries in relation to environmental history and evolving ecological perception. “Picture Ecology” extends the exhibition’s focus and approach to the visual cultures of diverse times and places, offering compelling ecocritical analysis of a broad spectrum of artists and objects. 
Organized by exhibition co-curator Karl Kusserow.

Sunday, December 2, 2018

Hyperion Has Stumbled

Hyperion Has Stumbled (detail), 2018 

When you daydream while walking—and, with your eyes set on the sky, you find that evidently you are not Hyperion, celebrated by Hölderlin in his writings, who lingers above earth—it is easy to stumble. Yet the daydreamer’s clash with reality is from another perspective a creative or even an insightful encounter, and one of the ideal media that causes people to fall over obstacles is sculpture. In this lecture, I will argue for a conceptual shift from the celebrated dexterity of the hand to the despised clumsiness of the leg. I will share samples of my work that stick to and never leave the ground. These works confirm the close dependency of sculpture on an onerous and yet surprisingly generative reality.

Location: Scheide Caldwell House
Hyperion Has Stumbled
Speaker: Kostis Velonis (
Stanley J. Seeger Visiting Research Fellow)
Mitra Abbaspour, (Princeton University Art Museum)
Time: 1:30 p.m.
December 7 at Princeton University

Measuring the Distance to the Goal

Measuring the Distance to the Goal, 2018 
Wood, concrete, acrylic 
123 x 26 x 16 cm 

The Fox

Katerina Iliopoulou, The Fox 

Tuesday, November 27, 2018

Designs of Destruction

Designs of Destruction

Between 1943 and 1945, the Allied Air Forces produced aerial photographs of 79 Italian cities, annotated them with the location of monuments, and appended them with elaborate instructions for aerial bombers on “how to miss cultural sites.” Similar lists and maps of monuments were produced by the Allies for almost every country in Europe, expanded or shrunk to fit various phases and types of fighting. The longest German list was 150 pages; one map of 23 monuments for the whole of France was once made.
 What kind of media were these? To what use were they put; how did they partake in the technologies of precision on which Allied aerial strategy hinged, and how did they help inaugurate a new global regime of cultural preservation?
Lucia Allais draws from her book, Designs of Destruction: The Making of Monuments in the 20th Century (Chicago: 2018). The book chronicles the triumph of the cultural monument as a modern and global building type between the 1930s and 1970s.

Tue, 11/27 · 5:00 pm7:00 pm · N107 School of Architecture 

M+M Program in Media and Modernity

Monday, November 26, 2018

Reading Matters' Conference

Reading Matters' Conference 

      Schedule of Events. The three-day conference is organized around a series of presentations prepared by teams of speakers. The first, kick-off event will commence on the evening of November 29, 2018, with a film screening and discussion, followed by two days of panel presentations.

Introduction + Panel I : 

Reading as Terrestrial Operations

Jane Bennett • bio
Raviv Ganchrow •  bio

[ + more info ]   

Saturday, November 24, 2018

From Damocles to Socrates, the classics in / of Hip-Hop

From Damocles to Socrates, the classics in / of Hip-Hop  
Growing up in 1990s Harlem, I couldn’t have escaped hip-hop if I’d wanted to. The streets bumped with it: the boombox action on the corner and in the park, the speakers screaming from apartment windows, the cars reverberating with bass. On the way home from school every weekday, a nerdy Dominican boy listened to the beats and was mesmerized. None of that loud music in our house, my mother would always say but I itched to bump the beats at home on our radio. Sometimes, if Mom had stepped out to the store and I was feeling brave, I’d tune in to Hot97 and live a few minutes of glory.
It wasn’t only the sonic architecture of the bass that snared me. The allure was in the verses themselves with their mighty torrent of words: sharp and cutting, smooth and coy, boisterous and threatening. And the prolifically inventive rhyme schemes! When, at the innocent age of twelve, I first heard the Notorious B.I.G. rap “Escargot, my car go / one sixty, swiftly” I had no clue what escargot was and had to look the word up but even before receiving enlightenment from the dictionary I knew the verse was a gem. As much as the books I devoured at the local library, the rap game expanded my cultural horizons.
Text by Dan-el Padilla Peralta 

Definition of Adrift

                  Leigh Stein, Definition of Adrift 

Talisman-images Gather the Cosmos and Press it to Your Body

Talisman-images Gather the Cosmos and Press it to Your Body

Practiced in medieval Islamic and European cultures, talismans were like apps that appealed to the planets and other powers to intercede into precise earthly problems. In this lecture, Dr. Laura Marks will argue that in our seemingly disenchanted times, it is still possible to re-fold the universe, grasping the points of disparate histories and places and drawing them together. We see this at work in movies, digital media works, and objects. Dr. Marks will focus on the affective results using such media to connect from the body to the cosmos.

Sunday, November 11, 2018

A Sculpture is What you Bump Into by Accident and You’re Okay

One does not have to look up to the sky as a jay-walker in order to stumble. Sometimes, all it takes is to be in a gallery, enjoying the artwork, until you bump into a sculpture. This was at least the view of one of the most important thinkers and painters of American abstract art, Barnett Newman, who had said that “sculpture is what you bump into [i.e. by accident] when you back up to see a painting.” And yet our contact with sculpture’s blatant materiality--accidental as it may be--also prepare us to accept the aggravating conditions of a life in a constant struggle with its own imperfections and defects. 

Location: Hamilton 616
Title: A Sculpture is What you Bump Into by Accident and You’re Okay 
Speaker: Kostis Velonis (Princeton University)
Respondent: Rebekah Rutkoff (New Jersey Institute of Technology)
Time: 6:00-7:15pm

November 14 at Columbia University

Monday, November 5, 2018

thrown off a cliff

thrown off a cliff, 2018 
Marble, wood, acrylic 
19 x 33 x 19 cm

Tuesday, October 30, 2018

I Hate Irony

 I Ηate Irony

I was walking along one day when I realized that I hate irony
I think I was thinking of the movie The Shining and how scary it is
When I was 21, I didn’t sleep for two nights straight because of that movie
It reminded me a lot of growing up and the things I’ve seen
Fear is not irony
If you have ever been truly scared there is no irony in your voice when you scream
And too
Love is not either
I was in love once and all I could think of was joy
Not drinking, nor sex, or spaghetti
Not witty things to say or martinis
That bubble down the stairs with gracious olives
I didn’t think of my large grey turtleneck folding over my abdomen
As I was touched so quietly by the stars
I hate when people think they are being funny by being ironic
Or they want to show you they are clever
So they say something really meaty
With twists and curves
I don’t think it is funny to be so elitist
To everyone who hasn’t had the chance to be as special as you are
Being cultivated into fine things when you yourself was nothing to begin with
Humor is not irony as I belly laugh all along the bench
Of the waiting room while they announce my father will die
Or when my friend was killed by her husband while he wore all black
To be torched is not ironic, but it hurts
It hurt her flesh.  It hurts me to think about it.
And not precious I am to think about it, to give it time
O but Dottie, you say, you are so funny
Surely you realize you are always being ironic
But I am not, I will tell you
I am only being real

Dorothea Lasky 

Wednesday, October 24, 2018

Displacement of the Self

Displacement of the Self, 2018 
Concrete, wood, acrylic

ARE WE HUMAN? THE DESIGN OF THE SPECIES 2 seconds, 2 days, 2 years, 200 years, 200,000 years

2 seconds, 2 days, 2 years, 200 years, 200,000 years
The 3rd Istanbul Design Biennial explores the intimate relationship between the concepts of “design” and “human.” Design always presents itself as serving the human but its real ambition is to redesign the human. The history of design is therefore a history of evolving conceptions of the human. To talk about design is to talk about the state of our species. Humans have always been radically reshaped by the designs they produce and the world of design keeps expanding. We live in a time when everything is designed, from our carefully crafted individual looks and online identities, to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes. The average day involves the experience of thousands of layers of design that reach to outer space but also reach deep into our bodies and brains. We literally live inside design, like the spider lives inside the web constructed from inside its own body. But unlike the spider, we have spawned countless overlapping and interacting webs. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design. Design has become the world.
Design is the most human thing about us. Design is what makes the human. It is the basis of social life, from the very first artefacts to the exponential expansion of human capability. But design also engineers inequalities and new forms of neglect. More people than ever in history are forcibly displaced by war, lawlessness, poverty, and climate at the same time that the human genome and the weather are being actively redesigned. We can no longer reassure ourselves with the idea of “good design.” Design needs to be redesigned.
ARE WE HUMAN? : The Design of the Species : 2 seconds, 2 years, 200 years, 200,000 years invites a wide arrange of designers and thinkers from around the world to respond to a compact set of eight interlinked propositions:
These propositions will be explored over the coming year in events, classes, workshops, and online discussions – including open calls for responses to the propositions by short videos. This year of exploration around the world will culminate in a dense program of exhibitions, debates, broadcasts and publications during the six weeks of the Biennial in Istanbul that opens in October 2016.
This Biennial is an archaeological project. It is not about celebrating particular designers or about visualizing remarkable futures. It will be a multi-media documentary about the state of design today, when everyday reality has outpaced science fiction. It will place the extreme condition of contemporary design into the context of the extended 200,000 year history of our species – from the first standardized ornaments and the footprints of the first shoes to the latest digital and carbon footprints. A Biennial normally focuses on the last 2 years. The time frame for this exhibition will span from the last 2 seconds to the last 200,000 years. Ancient archaeological artefacts from Turkey and the region will be presented at the heart of the Biennial to reframe the latest real-time thinking about design.

Text by the curators Beatriz Colomina and Mark Wigley for the 3rd Istanbul Design Biennial  

Wednesday, October 17, 2018

Belle Isle, 1949

We stripped in the first warm spring night
and ran down into the Detroit River
to baptize ourselves in the brine
of car parts, dead fish, stolen bicycles,
melted snow. I remember going under
hand in hand with a Polish highschool girl
I'd never seen before, and the cries
our breath made caught at the same time
on the cold, and rising through the layers
of darkness into the final moonless atmosphere
that was this world, the girl breaking
the surface after me and swimming out
on the starless waters towards the lights
of Jefferson Ave. and the stacks
of the old stove factory unwinking.
Turning at last to see no island at all
but a perfect calm dark as far
as there was sight, and then a light
and another riding low out ahead
to bring us home, ore boats maybe, or smokers
walking alone. Back panting

to the gray corse beach we didn't dare
fall on, the damp piles of clothes,
and dressing side by side in silence
to go back where we came from. 
Philip Levine