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Education
Apply to Triple Canopy’s Publication Intensive

We’re accepting applications for our Publication Intensive, a tuition-free,
two-week program in the history and contemporary practice of publication. This
year’s session will take place June 10–21 in New York City. Apply by Sunday,
April 7 at 11:59 p.m. EDT. Read more about the program on our Education page.



Event | Cinema
March 7, 2024
Standard Deviations: A Film Series
with Triple Canopy, BAM & Yasmina Price
March 22, 2024 to March 28, 2024

A series on experiments of cinematic circumvention.

Event | Cinema
 | 3.7.2024
Event | Performance
March 12, 2024
A benefit for Triple Canopy, honoring Cecilia Vicuña
June 3, 2024

Triple Canopy honors Cecilia Vicuña at the magazine’s spring benefit.

Event | Performance
 | 3.12.2024
Issue 28
Online Publication | Essay
February 8, 2024
Sporecore
by Paige K. Bradley, David Horvitz, Ismail Ibrahim & Nour Mobarak

Notes on the rise of mycotopianism; or, EXPLAIN MUSHROOMS TO ME OR I’LL FUCKING
KILL YOU!

Issue 28 | Online Publication | Essay
 | 2.8.2024
Issue 28
Online Publication | Essay
December 22, 2023
Love Is War for Miles
by Harmony Holiday

“How do you reverse disarmament?” An essay on inheriting ballads and guns,
tenderness and vengeance—and seeing them as inseparable.

Issue 28 | Online Publication | Essay
 | 12.22.2023
Issue 28
Online Publication | Artist Project
December 12, 2023
Cairn
by AUTHENTIC & Eric Ko

A video and poem; a cosmology for a realm of glyphs born of the chatter between
algorithms.

Issue 28 | Online Publication | Artist Project
 | 12.12.2023
Issues & Series

Each issue of Triple Canopy poses critical questions about a subject that shapes
contemporary life. Issues may include artworks, essays, fictions, conversations,
performances, and books, among other media. The magazine presents a new issue
each fall, publishing the contributions over the course of the year. Series are
smaller in scale and narrower in focus, with contributions centering on a single
program of events or body of work. Typically, series are published beyond the
bounds of issues.



issue 28: True to Life

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How do our accounts of our own lives, whether faithful records or artful
distortions, provide us with a sense of self (and of the world)? How do the
templates for these stories—perspectives, idioms, plotlines,
protagonists—restrict or expand our experiences? The twenty-eighth issue of
Triple Canopy considers how we record our lives and compose ourselves through
the proliferating forms of “life writing,” from memoir and autobiography to
biofiction and video diaries. And the issue asks how these genres might be made
to account for recent, dramatic shifts in how life is fabricated, comprehended,
and represented. While much of contemporary art and literature aims to
scrutinize the effects of personas rendered on digital devices and
platforms—deliberately or incidentally, for the sake of self-invention or
surveillance capitalism—life is being more substantially reconfigured in other
realms: genetic code is being altered to ward off disease and famine;
relationships are being mediated by technologies that substitute “connection”
for interaction; human creativity is being augmented (or supplanted) by
artificial intelligence; and habitats are being disfigured by the centuries-long
experiment in carbon capitalism. These phenomena call into question not only the
category of humanity but the prospects for all life. They also make apparent the
need to move past the default speakers of the past, avatars of individualism
whose styles and subjectivities are outmoded given what life has—and
will—become. True to Life asks which speakers and stories might enable us to
more inventively, effectively account for this moment of upheaval. How might our
efforts to write truer selves reinforce (and help to meaningfully harness) the
desire to rewrite the world around us, whether through narration or engineering?

The visual identity for True to Life is by the design studio AUTHENTIC, who have
fed images and text from each contribution through multiple AI systems, then
manipulated the results. The resulting palettes of glyphs evoke the earliest
writing systems, though the symbols can only be read by the machines that
generated them.

View all work in True to Life
issue 27: Unknown States

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How do fictions give rise to nations and nationalities? How do those fictions
work, and for whom? Unknown States considers stories that come to be understood
as real and fundamental to a common identity, used to differentiate between
citizen and alien, friend and enemy. This issue also takes up stories that are
discredited or dismissed but persist as artifacts of thwarted desires, or as
visions of polities and peoples that may yet be realized. The narratives that
organize people (and capital) along national lines, manifest in constitutions
and flags, but also in novels, paintings, homewares, garments, industrial parks,
diets, and PR strategies. Though these narratives might not be called fictional
by those who author or absorb them, they involve fabrications, fantasies,
plotlines, and heroics, which persuade people to think of themselves first and
foremost as subjects of a nation-state (and opposed to those who are not). Given
the recent rise of nationalist and populist movements, Unknown States asks how
these fictions might be dissected, revised, and rewritten, whether for the sake
of invention or reinvention. How might we not only question the bonds imposed by
nations, but facilitate radically different ways of understanding and organizing
people? The visual identity for Unknown States, which mines and distorts the
tropes of nationalism, was created by Deiara Kouto, Juan Pablo García Sossa,
Stefanie Schwarzwimmer, and Elsa Westreicher. As part of the development of
Unknown States, Triple Canopy created an exhibition at the RISD Museum that
addressed the efforts of Americans to define themselves through products and
portrayals of China.

View all work in Unknown States
issue 26: Two Ears and One Mouth

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Who speaks to you? Who speaks for—or with—you? Who obliges you to listen, and
who’ll go silent if you don’t? Two Ears and One Mouth is devoted to the
entanglement of speaking and listening, the right to expression and the right to
be heard. According to Zeno, the ancient Greek philosopher, “We have two ears
and one mouth, so that we may listen more than we speak.” But speech tends to be
cherished as an assertion of individuality and freedom, even as each keystroke
and voice command is captured and quantified, each speaker is profiled and sold.
And listening tends to be dismissed as a sign of passivity and unproductiveness
(or, worse, lurking), except when praised by management gurus and thought
leaders. This issue proposes that, as speakers and listeners, we seek not only
“connection” and “copresence” but togetherness and solidarity—whether in
isolation or crowds, as avatars or flesh, through interfaces or improvisations.
Two Ears and One Mouth centers on two series: Parts of Speech, a collaboration
with Public Fiction and the Museum of Contemporary Art Chicago, and
Omniaudience, a collaboration with Nikita Gale and the Hammer Museum. (Many of
the contributions to the issue emerge from these series.) The visual identity
for Two Ears and One Mouth, by Bo-Won Keum and Franklin Vandiver, considers how
contemporary media are imbued with meaning by shapes, systems, and letterforms.

View all work in Two Ears and One Mouth
Crying Pine

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How do we understand ourselves and the world through the interplay of narratives
and scientific interventions? And how can these seemingly disparate technologies
be employed to change who and what we are, and to what ends? Crying Pine, a
series of works by the artist duo Goldin+Senneby with the author Katie Kitamura,
considers the language of autoimmunity—the fraught notion of a body at war with
itself—and the stakes of reengineering life to defend against biological or
environmental peril. In 2020, they began collaborating on a novel, written by
Kitamura, that incorporates—and feeds back into—the duo’s research, biological
experiments, and performances. Triple Canopy has presented or published several
related projects, including a genetically modified pine tree, a collection of
blockchain-based artworks, a lecture on medical rhetoric, and an excerpt of the
novel-in-progress.

View all work in Crying Pine
Parts of Speech

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With faith in public and private institutions at an all-time low, what kinds of
speakers are likely to win trust, acquire authority, and mobilize audiences? How
do we recognize ourselves in the routines of comedians, reports of journalists,
appeals of activists, manifestos of tech entrepreneurs, and formulas of TED
Talks? “Parts of Speech,” an exhibition on public speech organized by Triple
Canopy and Public Fiction with the Museum of Contemporary Art Chicago, addresses
these questions with a series of experimental lectures and artworks chosen in
response. Freely interpreting the form of the lecture, artists, filmmakers,
comedians, novelists, and musicians consider the use of language and media to
mold opinion, forge intimacy, marshal authority, and orchestrate movements.
“Parts of Speech” culminates in the publication of edited transcripts and
videos, composed from documentation, that reflect on the migration of public
speech from radio to television to the internet and beyond.

View all work in Parts of Speech
Omniaudience

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Omniaudience refers to the faculty of hearing and comprehending everything, but
might also name a congregation of listeners who possess, or strive to attain,
this faculty. Omniaudience is a series of listening sessions, conversations,
performances, and publications that emerges from the magazine’s 2018–19 Public
Engagement residency at the Hammer Museum and is organized with the Los
Angeles–based artist Nikita Gale. The series considers the role of listening and
the settings in which speech and sound can be heard and have a meaningful
effect. How has our ability to listen changed with the development of new
technologies for synthesizing, transmitting, capturing, and quantifying
expressions? Instead of valorizing the assertion of individuality through speech
(which now is so likely to be mediated, mined, and commodified), Omniaudience
asks how we can we listen in ways that make us more open to one another and
ensure that a plurality of voices can be heard, while considering when and why
we might refuse to make ourselves available or receptive to others.

View all work in Omniaudience
issue 25: Resentment

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How do we express our resentment, and to what ends? Recently, we’ve gotten
innumerable lessons in the sense of dispossession that defines the fabled white
working class, courtesy of Fox News affiliates and aspirants (and helpful,
candid liberals who blame the scourge of neofascism on “identity politics”). But
resentment hinges on the inability to confront the source of grievances, to
speak to power and be heard. Resentment can easily be conveyed and shared—the
internet is designed to channel and intensify the sentiment—but has no proper
outlet. Resentment often is a cause for shame and exhaustion, rarely is a source
of affection or invention. This issue is devoted to reclaiming resentment,
especially as harbored by those who are used to fits of anger and bitterness
being called unproductive, petty, selfish, even pathological (and not those who
suddenly are indispensable props at presidential photo-ops). It asks: Who has a
right to be resentful? What are the possibilities and limitations of resentment
as a basis for thought and expression, intimacy and solidarity? How does
resentment channel (or erode) our attention and energy? How is resentment
stoked, mobilized, policed, and to what ends? Can—and must—resentment be useful?
The visual identity for the issue was designed by Pianpian He, who created a
visual index of resentment with colors that she associates with the feeling. She
applied these colors to Hansje van Halem’s Wind font, whose styles correspond
with the cardinal directions, to create patterns that reflect the vital
instability of resentment and the mood of each work.

View all work in Resentment
issue 24: Risk Pool

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To an insurer, a risk pool is a group of individuals whose projected medical
costs are combined in order to calculate their premiums. The wider and deeper
these pools, the more the burden of risk (the expense of illness) may be
diffused among the overlapping spheres of the healthy and the sick. So much
tenderness—the precarity of health, our innate vulnerability—ripples across the
bureaucratic surface. This issue considers our interdependence as reflected in
the risk pool and asks: How are sickness and wellness defined today, and by
whom? What are the effects of these definitions, these acts of naming and
describing? How do various conceptions of malaise and deficiency mark us—as
useful or useless laborers; consumers of essential oils, medical procedures, and
pharmaceuticals; narrators of our own lives and the systems in which they are
enmeshed; providers and recipients of care; political actors and community
members? Risk Pool seeks to understand sickness not so much as a singular event
or immediately identifiable state, but as a continual and nearly ubiquitous
process. The issue’s visual identity, Arial All, designed by Cary Potter,
confronts the inaccessibility of typography online. Arial All makes a series of
extensions and adjustments to the omnipresent typeface Arial, which improve
legibility for readers with dyslexia and impaired vision. Risk Pool is
guest-edited by Corrine Fitzpatrick.

View all work in Risk Pool
issue 23: Vanitas

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In an age defined by extremes of finitude and excess, deprivation and luxury,
what is vanity? How do we register our own transitoriness even as we strive
against decay and senescence, by way of cryogenics labs, biotechnology
innovations, spa treatments, and the hoarding of material goods and digital
files? This issue explores contemporary meditations on mortality as well as the
delights, delusions, and pressures of fleshly existence, and ranges from the
much-heralded “end of death” to collective processes of aging to the pursuit of
impossible—or nearly impossible—forms of beauty. The name is taken from the
opulent, hyperrealist still lifes popularized by Dutch and Flemish painters in
the seventeenth century, which symbolize the brevity of human life and essential
emptiness of earthly pursuits, even as they advertise the artist’s ability to
fix time. These paradoxical images prompt us to consider how and why we strive
to overcome death while reminding us of our certain mortality. The identity for
Vanitas was designed in collaboration with Olya Domoradova of Werkplaats
Typografie. The typeface, gc16, was designed by Bold-Decisions.

View all work in Vanitas
issue 22: Standard Evaluation Materials

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Standards harmonize bodies, regulate speech, and fix time. They’re ubiquitous,
largely invisible tools for organizing social and economic life. Established by
voluntary consensus or the passage of centuries, abided by gentle coercion or
through habit, they’re experienced in all that we record and transmit. They
appear as graphical symbols on roadways and machinery; intermodal containers
that pass from port to freighter to port; TCP/IP, PDF, MPEG, A4, ISBN;
expressions of veneration and nationalism; models for seeing and hearing. This
issue treats standards as aesthetic artifacts, political instruments,
technological protocols, and linguistic codes. It asks how our lives might
change if we could grasp the matrix of standardized objects and processes within
which our actions and expressions are enacted and interpreted. How might we read
and represent standards, inhabit and appropriate the languages of the
bureaucracies and technical systems? The sinuous typeface for the issue, Zini,
was designed by Studio Manuel Raeder.

View all work in Standard Evaluation Materials
Passage of a Rumor

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This series considers how and why we talk about the value and potential
acquisition of ephemeral works of art. Passage of a Rumor emerges from Value
Talks, a series of private conversations organized by artist Ralph Lemon in 2013
and 2014 at the Museum of Modern Art. Lemon, who is editing this series with
Triple Canopy, asked artists, writers, scholars, and curators to consider the
allure of artworks that, by nature, resist institutional parameters.
Participants also considered efforts by artists to maintain a meaningful degree
of autonomy in relation to institutions that confer value upon them and their
works. Passage of a Rumor is an expanded record of these conversations, one that
necessarily addresses the ephemeral nature of conversation itself: How might
discussions that occur in private—about art, race, money, community, and
power—be circulated without either compromising their intimacy or promising
unmediated access? Rather than purport to exhaustively document or analyze such
exchanges, Passage of a Rumor circulates novel versions of lectures, DJ sets,
performances, and dialogues, and provides an impetus for the creation of
artworks and writings commissioned in response by Triple Canopy and Lemon. Many
of these new works will appear exclusively in the book that concludes the
series, On Value, published by Triple Canopy in fall 2015.

View all work in Passage of a Rumor
issue 21: The Long Tomorrow

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Who bears the responsibility, and who possesses the imaginative capacity, to
conceive of an ideal world? Though utopians, futurists, and visionaries have
never been united under one standard, radicals and progressives used to be
uniquely equipped and motivated to do this work, and today mostly defend the
scraps of bygone idealism and attend to the detritus of twentieth-century
achievements. But constructing an image of an alternative world, another way of
living, has an essential social function, and reflects—or even determines—the
agency of the constructors. This task, like forming an image of the past, is
never neutral or impartial. And now those who make investments in the future—and
whose investments pay off—tend to be libertarian technologists, financial
engineers, and affiliates of plutocrat-funded think tanks. This issue is an
exhortation to bet on the future again—to formulate propositions, predictions,
and projections that make demands on the present.

View all work in The Long Tomorrow
issue 20: Pointing Machines

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This issue is devoted to the consideration of contemporary and historical modes
of reproduction: copies of classical sculpture made with plaster casts and 3-D
printers; texts replicated by telegraphs, pirate publishers, and PDF generators;
the photograph as archetypal mechanical image, proliferating across formats such
as the daguerreotype, diapositive, inkjet print, bitmap. Pointing Machines is
named after the simple eighteenth-century measuring tool for reproducing
sculpture in stone or wood by means of a system of adjustable rods and needles.
The issue reflects on the proliferation of analogous tools and procedures in the
digital age, in which the difference between goods (among them artworks) and
information about those goods is constantly diminishing. Pointing Machines
addresses the many forms of reproduction that unremittingly shape our daily
lives—and alter the relationships between ideas and property, identity and
originality—while asserting that each instance of reproduction can be generative
and enriching. Pointing Machines is Triple Canopy’s contribution to the 2014
Whitney Biennial and includes an installation in the Whitney’s galleries; the
issue continues the reproduction and circulation of the displayed objects beyond
the museum’s walls.

View all work in Pointing Machines
issue 19: It Speaks of Others

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This issue is devoted to the consideration of objects and objectivity. Today our
sense of the limits of objectivity is troubled by the proliferation of
intelligent, networked devices which, while not animate, possess kinds of agency
and functionality that approach animateness. Perhaps humans have always lived
with and among objects that resemble us and have a share in how we use language,
but the efficacy and usefulness—as well as the intrusiveness—of contemporary
objects is remarkable. It Speaks of Others is therefore a reconsideration of
objects, across a variety of media and forms: in poetry and prose, performance,
film, and other images. Here we explore materiality and fetish, the joys and
failures of empiricism, automation, big data, stuff, the objectification of
human beings, as well as the speech of dumb things.

View all work in It Speaks of Others
issue 18: Active Rot

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The gradual loss of integrity plays out in various aesthetic milieus: A TV pilot
corrupts true art, an authorless novel seeks to enter the marketplace, the
degradation of the environment is countered by a scheme for a land-art-inspired
green economy, Charlie Sheen’s salacity is looped. This issue recognizes the
continuous phenomenal change that thwarts our best-laid plans and programs, but
admits that total overhaul is rarely feasible. Instead, it focuses on
evolutionary processes and the joys of departure from any original design, the
likelihood that each thing is the same thing in a deceptive form, scenes from
the decline of commercial viability, the work of waiting.

View all work in Active Rot
issue 17: Inverted Circle

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Exhumations, translations, masquerades. No matter how many times you Empty
Trash, the contents are buried somewhere by Time Machine, waiting to be
unearthed. For example: Richard III’s skeleton is found beneath a Leicester
parking lot. An archaeology of alphabets uncovers glyphs that carry forgotten
sounds. A zombie phrenology rises up from Whitman’s poetry, and into puff pieces
for Time magazine. Pygmalion’s Galatea comes to life and starts working the
Borscht Belt. A trio of ancient donkeys are likewise revived, and it turns out
they’re comedians, too. Magnetic resonance scans pass as portraits before a
jury. A Brazilian poet plays at peddling smut, but can’t help being highbrow.
Liberties are taken, permissions ignored.

View all work in Inverted Circle
Corrected Slogans

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In fall of 2012, Triple Canopy initiated Corrected Slogans (A Publication in
Four Acts), conceived as the magazine’s contribution to “Postscript: Writing
after Conceptual Art,” an exhibition organized by the Museum of Contemporary Art
Denver. For the first and second acts, Triple Canopy’s editors staged a pair of
public events at 155 Freeman Street in Greenpoint: a symposium titled Poems for
America and a seminar titled Automatic Reading. These events brought together
artists and writers to discuss how conceptual strategies have transformed (and
might still transform) conventional notions of expression and of reading—both as
an exchange between an individual and text and as a public activation of the
written word. The third act was a special issue of Triple Canopy’s online
magazine, Corrected_Slogans, consisting of a selection of pertinent works
previously published by Triple Canopy as well as newly commissioned projects by
Erica Baum, Caroline Bergvall, and Gareth Long. The final installment of the
project was the book Corrected Slogans: Reading and Writing Conceptualism, which
documents the previous acts but also elaborates, edits, amplifies, and
contradicts via annotations, additional artworks, and critical essays; the form
and content of the public discussions are reinterpreted using tools specific to
print in such a way that the book enacts the conceptual strategies being
discussed. Each act of Corrected Slogans was integral to the same dynamic
process; the project as a whole represents Triple Canopy’s ongoing attempt to
define an expanded field of publication.

View all work in Corrected Slogans
issue 16: They Were Us

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This issue is devoted to scrubbing the bridge to the twenty-first century. Some
foci of this endeavor: girls in uniforms, walking; girls of a certain age at
once auguring and manifesting capital. There is so much to buy in the magazines
that reflect their faces, which are clear-skinned, decorticated, architecturally
sound. One woman reads Flaubert and is filled with love. Then she is filled with
rage. She tries to show us simply how she sees the world, saying everything she
can possibly say in one hour. Elsewhere a word that can’t be said is uttered at
last because the story requires the word. Ambiguity gives way to precision, even
analysis of patterns of linguistic usage. But your own interpretation may please
you better.

View all work in They Were Us
issue 15: Negative Infinity

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This issue includes studies of the culture and politics of online anonymity,
photographic excursions into the nether regions of the mind and the USSR.
Popularity has exploded. Painted smiles peel. Scrutiny of alienation, irony, and
hate leads to altruists, sociopaths, and old desperate weapons, convergences of
teenage fantasy and IP militancy. Seekers arrive at bunkers and encampments and
chat rooms from Yugoslavia to the Springsteen state to Zuccotti Park; they are
after evidence or the smell or resources. Whitman’s multitudes, Melville’s
intransigent, contra immiseration and crisis. One can't help but wonder, are
these last or first men?

View all work in Negative Infinity
issue 14: Counterfactuals

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In Triple Canopy’s first literary, or not not literary, issue, the promise of
fact evaporates in the weird light of the subjunctive. The focus is on events
transpiring on the page, on “events” “transpiring” “on” “the page.” The actual
of our counterfactual is often only handwriting; a typo, a footnote, a
facsimile; caps lock, scare quote, underscore. It is mere text, a line, or minor
grammar; a mere sentence, mere diction, mere style, what substance. As
Wittgenstein once proposed: “They say, for example, that I should have given a
particular answer then, if I had been asked.” But the business of prediction,
even of speculative pasts, is best left to justly compensated professionals.
Dealing with the present, then, and the future in the past, the counterfactuals
in this issue might not survive the time of reading.

View all work in Counterfactuals
issue 13: Bad Actors

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Chewing the scenery and reacting poorly with a certain consistency, this issue
brings together reflections on the sexual magnetism of the volcano, the history
of the infamous Mankato execution, passport defacement, New York real estate,
the ills of dealing in art, and other acts of personal and public mismanagement.
Such acts may be unintentional or may be required for a given role: It’s no easy
feat, for example, for man, who evolved from the sea, to reverse the process by
returning to the oceans and asserting control over the depths. Indeed, as this
issue shows, the perception of acting quality differs greatly between any two
given perceivers, and therefore the extent of bad acting can be quite
subjective.

View all work in Bad Actors
issue 12: Black Box

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This issue is devoted to considering how we view photographs—and make
photographs to be viewed—online. Most of the photographs found on the Internet
were shot digitally and published without any thought given to printing them in
a physical form. Their material condition is not an issue. We are concerned with
photographs whose materiality is at stake, for which an online presentation is
disruptive, and therefore worth examining. Artists who traffic in physical
photographic prints are asked to participate in a shared vision of
dematerialized photography, charged with creating works intended to be
experienced as JPEGs.

View all work in Black Box
issue 11: Default Environments

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In this issue, metaphors are unexamined and not. The skin of a satyr is flayed
and stretched on a tree. A body withers leaving only a voice. Here expression
precedes and exceeds language. A photograph succeeds where words fail. Those
seeking omniscience, infinite perception, find it at the ends of gravity. A sea
traveler says to a poet, “It is difficult to know a person.” The poet replies,
“There are many ways a person might be known.” She sees fissures in the Arctic
ice and is reminded of futures foretold by creases in the palm of a hand. These
she traces in color. Elsewhere a hand is writing, ink on paper: This writing
might depict a life or not at all. A written life is only partly told, partly
understood, even as the Name written in light is everlasting. Revision leads so
often to miscomprehension. No symbols where none intended.

View all work in Default Environments
issue 10: And Yet It Moves

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This issue surveys the ground and that which surveys it from above, draws a line
of force and follows it, trades violence for puppetry, confuses major and minor
aspects, reckons with the originality of credit, randomizes dystopia, accounts
for innumerable other conjunctions and oppositions. From space: polygonal
celestial bodies and quantities of nothingness. From Pandora and Palestine: the
nightmare of shamelessness. From Peru: lessons in the manufacture of high-end
human-hair wigs. From Moscow: “It's like diving into the ocean—no half-steps,
for all your life, but it is worth it!” All problems of drawing people into the
mystery of a shared existence.

View all work in And Yet It Moves
issue 9: Unplaced Movements

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This issue charts a critical genealogy for new-media publishing by way of
identifying undercurrents that have defined and enriched each successive “new”
medium, and the aesthetic strategies that have persisted after the obsolescence
of cassettes, floppy disks, and laser discs. The projects included in the issue
were the outcome of talks, conversations, and performances that took place in
late 2009 and early 2010 and positioned Triple Canopy’s approach to new-media
publishing within a broader historical context: The Invisible Grammar at the NY
Art Book Fair, The Medium Was Tedium at the New Museum, and an interview with
digital-publishing pioneer Bob Stein as part of The Page + The Screen, a class
organized with the Public School New York at 177 Livingston. (Some of the events
that preceded the launch of the issue have retrospectively been added to the
table of contents.)

View all work in Unplaced Movements
issue 8: Hue and Cry

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This issue consists of creation myths, shore stories, bestiaries. An Internet
play requests permission to watch and listen as you read, then asks: What fruit
do you expect to reap from your fine arguments? A Belgian information scientist
builds an archive of twelve million bibliographic index cards meant to catalog
all the world’s information. A dictionary recognizes any of a group of colors
that may vary in lightness and saturation, whose hue is that of a clear daytime
sky. A Bedu hick shows the desert of Arabia to be America’s last frontier. A
monkey copulates for the camera. A poet explains what you are about to see.

View all work in Hue and Cry
issue 7: Urbanisms: Master Plans

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The second of two issues examining our urban situation and what lies beyond it:
the city’s past and future; the suburban, the exurban, the frontier. This issue
understands urbanism as exceeding any fixed notion of the twentieth-century
city, encompassing informatics and third-world slums, modular megachurches and
modernist office towers. It seeks an urbanism that looks backward to move
forward, that looks forward to see the present; an urbanism that considers the
voices of those without the power to build, and the ideas of architects and
planners who have built modestly, critically, or not at all.

View all work in Urbanisms: Master Plans
issue 6: Urbanisms: Model Cities

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The first of two issues examining our urban situation and what lies beyond it:
the city’s past and future; the suburban, the exurban, the frontier. This issue
consists of the realization of elaborate fictions; the accretion of what is
designed and improvised, what is chosen and received, what is imagined and
experienced. It was assembled upon awakening from an agreeable dream—of what
could be bought, what could be built, what could be justified; of easy credit
and adjustable-rate mortgages masking stagnant wages and yawning inequality.

View all work in Urbanisms: Model Cities
issue 5: Idol Traffic

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Journeys far and wide, remote and digitally delivered, between deities and
degenerates, deliverance and circulation. This issue covers virtual prayer,
analog dance; the smelling-ghost, the possessed Porky; deaths mistaken for
jokes, catheters mistaken for obstructions; headbanger folkways, authenticity in
crisis. Beef, biceps, and the Bhagavad Gita. Bees, wasps, and uncountable
mosquitoes. People fall over themselves to be on camera. Cannibalism is the
limit on the horizon of the breakfast room. The best part is that there’s hardly
any improvisation.

View all work in Idol Traffic
issue 4: War Money Magic

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This issue consists of strange bedfellows and pop dialectics. Leo Strauss with
Sayyid Qutb; Stalin beside Picasso; Clement Greenberg as Emperor Palpatine.
Jurassic Park read through the book of Genesis, and Heraclitus formatted for
OS9. Stretched across New York and the former USSR, allegories of gentrification
and displacement: Lenin presides over the downtown real-estate boom, amid Bowery
condo-construction dust, while Tatars fill empty chocolate boxes with nostalgia
for Crimea. Invaders and the invaded embrace, because Desmond Tutu says so.
Jesus Christ by way of Walt Disney—just south of Golgotha, you’ll find the
restrooms and concession stand.

View all work in War Money Magic
issue 3: NOLA

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Learning from looking at New Orleans on Hurricane Katrina’s third anniversary,
and finding something related to the city’s life and death. This issue eschews
the rhetoric of before and after but nevertheless addresses reconstruction and
resurrection, the great distance between here and there, the common impulse to
narrow that distance. Walker Percy describes the experience of novelty sought by
the tourist as an “immediate encounter with being”; when not satisfied, the
tourist “carves his initials in a public place … as a last desperate measure to
escape his ghostly role of consumer.” Instead this issue seeks description—if
not of New Orleans then of something related to its life and its death.

View all work in NOLA
issue 2: Orbiting an Absent Program

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This issue reveals literature to be a dangerous occupation, or an unoriginal
vocation, or an observational exercise, or an engineering endeavor. The language
of the Web is juxtaposed with the language of the psychiatric ward; the Global
Village Idiot awaits a friend request, Rocky Balboa occupies the Guggenheim
Bilbao. Search results: “Burma is great for private parties”; “Citizens do not
have a need for politics because their ruler decides for them.” Objects,
prototypes, and remnants of prior experiments: a magical hairbrush; the
troublesome V in Venezuela; a severed toe discovered in the mail. In other
words: “There is always an angle toward the sun.”

View all work in Orbiting an Absent Program
issue 1: The Medium Was Tedium

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In this inaugural foray, months of conversations and thousands of emails between
friends and strangers attain a form: a side-scrolling multimedia magazine meant
for serious reading and viewing; a concatenation of essays, video poems, false
reports, scripted fictions, and urban reconnaissance. Chinese paintings copying
Renaissance masterpieces, sidewalk encounters, meteors hurtling into Siberia,
dust swept from center to periphery. Noting the Internet’s putative freeness and
rhetoric of freedom, we claim the freedom to be unreadable, but also the
disciplined freedom of form; the freedom to be excessive and recessive,
polemical and lapidary, lucid and obdurate.

View all work in The Medium Was Tedium
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