From Systemic Critique To Micro-Epistemology
They also critique the existing theoretical foundations of Forensic Architecture, arguing that while its Science and Technology Studies (STS) perspective successfully challenges dominant regimes of truth and centres marginalised voices, it provides insufficient criteria for evaluating the methodological reliability of individual investigations. They instead propose Rheinberger's concept of micro-epistemology as a more precise analytical framework, rather than assessing investigations primarily through ethical or political commitments, this approach examines how technical procedures, experimental configurations, and epistemic practices produce stable and reliable knowledge.
Don’t blame me, it’s the Universe’s Fault
To begin with, within François Laruelle’s Universe Black, Philosophy is framed as operating under the authority of Light, which assigns position. All that Light can interact with is White. The Real, or the Universe, is Black, meaning Light does not and cannot interact with it: the Universe Black is without position, it is “the opacity that renders the Real invisible.” The Earth and Man, too, are Black.
The difference between Black, Black and Black, can only be discerned through their relative (pre)position, Man is on Earth which is in the Universe, Black-on-Black-in-Black. As such, Light participates in producing observable differences that either may or may not have any bearing on the Real, may or may not reflect any structuration at the level of the Real.”
The Treachery of Images
Thelot characterises the AI image as “synficial”: simultaneously synthetic, because it recomposes the same visual matter as existing images, and artificial, because it is designed to produce credible deception. As machine-generated images begin to dominate both online culture and the datasets used to train subsequent models, image production becomes recursive: networks generate images from images generated by networks.
The article names this prospective “pictorial flippening” as the culmination of the image’s latent desire for autonomy—a hyperreal visual regime in which images cease to represent a human-centred world and instead circulate primarily between machines. We are deeply honored to republish this article.
Two Trends in NFT Art
Of course, the NFT market now is tiny compared to what it was in 2021. It’s not as easy for artists to sell whatever digital file they mint as it was four years ago. And yet there are artists who still release NFT collections, and collectors who still buy them.
Markets and communities have formed around two genres that are the most significant trends in NFT art of the last few years. One is blockchain formalism—art that reflects on the relationships enabled by blockchain infrastructure and gives them a visual form that draws on aesthetics of computing. This is art that cannot be made without blockchains and without software. It makes sense for it to be traded using NFTs, and for it to be collected by people who care about web3 and want to sustain an artistic culture around it.
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动之为象
IM-EX
The goal of implicit-explicit is to mutate a text-based body in order to increase its stable & dimensional complexity using content inputs &/or modifications. It can be played via solo exploration or within a competitive multiplayer context.
This body is mutated through navigation and movement that emerges from the central possibility of destabilising and re-stabilising the parameters and positions of its content.
This game emerges as a project within Sybil's residency, where, for six months, the 邊界 team will be working on developing the project with the help of collaborators.
During this time, the 邊界 team is committed to producing an extensive series of parallel materials related to this project, which will include both research practices and new publication formats, as well as artistic side projects working with different materials, physical events and more.
D/WB
S02
邊界_systems arises with the intention of unsettling institutional stasis and the geography of fields of action and knowledge, directly probing the structures that constitute cultural apparatuses and seeking to displace and reimagine possible formal configurations that may open onto new modalities of research and artistic production. Format s02 emerges centered on these practices, seeking to reconceptualize and reconcile the operative possibilities—both aesthetic and theoretical—within the conditions of digital culture, situating its inquiry at the limit, the edge, the frame, the frontier / from the philosophy of language, memory, the geometric and the abstract, the systems and the activable, and the processes of producing value, meaning, and identity.
IMPLICIT-EXPLICIT