Jean-Marie Straub and Danièle Huillet
The poet is the one who makes something (in Greek, ‘poietes,’ to make something, to produce); the essayist is the one who puts himself to the test. That is fine, but that does not interest us. What we try to explore are things that are outside ourselves. We address ourselves to texts that offer us resistance. We try to test them out; we make audiovisual objects out of them, which consist of movements, movements within a visual frame, movements of light and sound. We are more interested in the music than the ideas. —J-M.S.
Negarestani sharply asserts abstraction's origins as the dialectic between form (mathematics) and sensible matter (physics) and its otherwise flat interpretation in art history, and presents us with the redemptive possibilities for its enrichment and diversification through the lens of artistic practice.
Robin Mackay (Ed.)
To survey those practices in which intellectual resources are most acutely concentrated on the production and exploitation of risk, and to uncover the conceptual underpinnings of methods developed to extract value from contingency this volume brings together contributors who extend the thinking of contingency beyond the 'casino' model.