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The Fred Perry x Raf Simons SS19 collaboration is presented within an immersive editorial lookbook, honouring an everyday interface familiar to many. Worn by anonymised individuals, the garments can be viewed in a navigable environment, where modified stills create the setting of a universal suburb. Each garment can be examined up-close, with options to view it in situ or in the shop. Location URLs of found garments, sound snippets or visual frames can be shared on social media. The entire campaign can also be viewed as a series of semi-accidental screenshots.
This is the first instalment in a three-part exploration of 360 storytelling. Part two centres around 80s Youth Archive photographs, while part three, 'A Lookbook of Many Gazes', allows the viewer to see the SS20 collection through the eyes of many. +
Following a process of open exchanges and a three-day research workshop in London, at London South Bank University and King’s College, London, this publication brings together researchers who address the problems of technological scale, thinking through the potentials of 'the minor'; or what we are referring to as minor (or minority) tech – small tech that operates at human scale (more peer to peer than server-client) and stutters in its expression and application. As Marloes de Valk puts it in the Damaged Earth Catalog: “Small technology, smallnet and smolnet are associated with communities using alternative network infrastructures, delinking from the commercial Internet.” As such, the publication sets out to question the universal ideals of technology and its problems of scale, extending it to follow the three main characteristics identified in Deleuze and Guattari's essay (Toward a Minor Literature), namely deterritorialization, political immediacy, and collective value. +
In an era of accelerating technology and increasing complexity, how should we reimagine the emancipatory potential of feminism? How should gender politics be reconfigured in a world being transformed by automation, globalization and the digital revolution?
These questions are addressed in this bold new book by Helen Hester, a founding member of the ‘Laboria Cuboniks’ collective that developed the acclaimed manifesto ‘Xenofeminism: A Politics for Alienation’. Hester develops a three-part definition of xenofeminism grounded in the ideas of technomaterialism, anti-naturalism, and gender abolitionism. She elaborates these ideas in relation to assistive reproductive technologies and interrogates the relationship between reproduction and futurity, while steering clear of a problematic anti-natalism. Finally, she examines what xenofeminist technologies might look like in practice, using the history of one specific device to argue for a future-oriented gender politics that can facilitate alternative models of reproduction. +
This essay explores the fragmentation of the internet, likened to the "Balkanization" and "Babelification" of online spaces. As the unified digital world splits into smaller, private communities, distinct languages and cultures emerge, leading to communication breakdowns when different groups interact. This splintering mirrors the biblical Tower of Babel story and poses challenges to shared understanding. The authors argue that deeper human connection, especially through physical touch, is essential to overcoming these divides and fostering genuine communication. +
On the internet, we are part of swarms: networks of people, bots, and content, coordinated through algorithmic feedback loops. Swarms spread misinformation, help each other, and represent the public. This is not our grandparents' crowd. Swarms are networks of people and information. They can act together without set rules. This research looks at different swarms, like the response to Hurricane María, to see how they work together. We also need to look at other online groups to understand swarms better. These groups have rules that make them easier to manage. +
In Screen Walks, a series of live-streamed explorations of digital spaces, selected artists and researchers investigate artistic strategies taking place online. The project gives an insight into practices using the screen as a medium. Artists, curators and researchers are invited to perform live-streamed explorations of the digital spaces where their core practice takes place. Every Screen Walk is different, as the guest artists of the programme share their screen and walk the viewers through their work, as a desktop performance of sorts. From re-contextualising imagery found on online marketplaces and uncovering data brokers’ invisible circulation of images to analysing in-game photography and the social, political and economic implications of games – Screen Walks examines various approaches, offers a behind-the-scenes look at artists' work and uncovers new, current and forgotten digital spaces.
Screen Walks is a collaborative project by Fotomuseum Winterthur and The Photographers' Gallery, investigating the changing role of the photographic image in its networked and digital forms. +
In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl’s landmark essays from recent years in which she has steadily developed her very own politics of the image.
Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings. +
Here lies a nearly-complete archive of Whole Earth publications, a series of journals and magazines descended from the Whole Earth Catalog, published by Stewart Brand and the POINT Foundation between 1968 and 2002. They are made available here for scholarship, education, and research purposes. The Whole Earth Catalog was an American counterculture magazine and product catalog published by Stewart Brand several times a year between 1968 and 1972, and occasionally thereafter, until 1998. The magazine featured essays and articles, but was primarily focused on product reviews. The editorial focus was on self-sufficiency, ecology, alternative education, “do it yourself,” and holism, featuring the slogan “access to tools.” +
In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.
Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. +
Gossamer Press, a micro-publishing platform, intertwines female-driven textile crafts with digital realms, adopting annon-linear approach akin to navigating a web. Exploring concepts like 'Warp,' 'Weft,' and 'Gap,' it connects physical and digital realms, uncovering hidden narratives and challenging historical erasure, presenting a dynamic view of interconnected webs. +
An interview between Meg Miller and Chia Amisola on the development of her practice; from creating browser based environments to translating them into physical performances of the 'ambient internet'. Chia and Meg delve into the concept of embodying the browser as a personal and performative space, transforming websites into lived, immersive experiences. They explore how reading becomes a creative act, akin to authorship, and examines how writing can exist fluidly within data structures, blending code and narrative. With themes of ritual, religion, and repetition, Amisola sees the internet as a potent tool for activism and cultural expression, wielding it as a platform to advance the Filipino struggle and amplify underrepresented voices in the digital age.
I’m interested in reconfiguring our attention to the web: What is visible, invisible, foregrounded? How does poetry emerge from the landscape of the browser? +
In A Rant About Technology, Ursula K. Le Guin explores society's near-obsession with technology, suggesting that we often glorify new gadgets and tools at the expense of deeper human values such as creativity, compassion and wisdom. She argues that while technology can be helpful, we should question its role and avoid making it a substitute for meaningful, humane experiences. Le Guin advocates a balanced perspective, encouraging us to value technology without allowing it to define or control us. +
The Carrier Bag Theory of Fiction, proposed by Ursula K. Le Guin, suggests that storytelling is akin to a "carrier bag"—a container for diverse narratives rather than a linear progression of events. This theory emphasizes inclusivity and multiplicity in storytelling, advocating for narratives that encompass various voices and experiences rather than focusing solely on traditional heroic plots. By framing fiction as a space for collecting and sharing rather than imposing structure, Le Guin encourages a more holistic understanding of literature's role in shaping human experience. +
Olivia Linnea Rogers explores the rise of digital mood boarding as a modern form of identity exploration and creative expression. Originally physical collages, mood boards have evolved online, becoming aspirational but intangible collections of lifestyle aesthetics. It reflects on how images once rare and precious are now curated endlessly on platforms like Pinterest, shaping identity through associations with unattainable ideals. Rogers suggests mood boarding reflects consumerism, escapism, and a desire for curated self-expression, raising questions about authenticity in digital self-construction. +
Scarabelli explores the rise of 'virtual shopping' on resale platforms such as eBay, Poshmark and Grailed, which allow users to engage in 'digital window shopping'. The ability to save items to wish lists and shopping carts allows us to create a curated collection of items we may never buy, transforming consumption into an imaginative, almost aspirational experience. The essay highlights the ways in which resale platforms mimic social media, encouraging not only purchases but also the creation of online identities through saved designer goods and mood boards - ultimately embedding subliminal modes of consumption into digital habits, while blurring the lines between physical and virtual consumption. +
The journal ŠUM#22 – Angel Mode explores themes in contemporary art, theory, and speculative fiction. Key articles include topics such as online identities, accelerationist philosophy, the concept of "angelic sexuality," and reinterpretations of faith and love in the digital age. Contributors like Bogna Konior and Haela Ravenna Hunt-Hendrix discuss theoretical frameworks connecting cyberculture and philosophy. The issue is edited by Maks Valenčič and Tisa Troha. +
A playlist of talks given during the BUFFER summit organised by MA Fashion Media & Communication at the London College of Fashion (UAL). +
Myth Magazine is a shapeshifting online publication, that will not be found on the news stands. +
Memestrilism is a term made up of "meme" and "minstrelsy" used to describe minstrel-like behaviours, trends and creations in digital spaces. Produced by artist Ama Ogwo as part of the first Feminist Internet Residency, the film critically examines how racism persists in the digital age, paralleling contemporary online representations of blackness with historical racist imagery. Using found footage from social media and 20th-century minstrel shows, Ogwo collapses time to reveal how the ventriloquism of blackness online mirrors and reinvents what minstrelsy looks like today. +
Minh-ha T. Pham critically examines the intersection of digital culture and the fashion industry, exploring how social media reshapes ideas of creativity, ownership, and ethical labor. Through incisive analysis, Pham unveils how influencers and platforms commodify aesthetics while obscuring labor inequalities and perpetuating exploitative practices. The book critiques fast fashion and intellectual property disputes, highlighting the ethical dilemmas amplified by digital visibility. With its interdisciplinary approach, the text invites readers to reconsider their complicity in sustaining inequitable systems. A timely contribution, it challenges dominant narratives about fashion's democratization. +