Accumulation / e-flux architecture

Accumulation is a new project by Daniel A. Barber and e-flux Architecture, featuring contributions by Emily Apter, T.J. Demos, Robin Kelsey, Orit Halpern, McKenzie Wark and Kathryn Yusoff.

In collaboration with Daniel A. Barber, over the course of the next six weeks e-flux architecture will publish a series of essays on this cultural infrastructure and the methodological challenges of its analysis. In so doing they offer a response to the relative invisibility of the climate now seen as material accumulations of social behavior. They outline some of the opportunities and ambitions of visual scholarship as a means to encounter the challenges emergent in the current epoch: how can climate become visible, culturally and politically? Knowledge of climatic instability can impact and inflect collective behaviors. It can offer other trajectories for the accumulation of images, knowledge, materials and their effects; counter-accumulations that draw the present into a different future.

Accumulation is produced in cooperation with the Princeton Environmental Institute at Princeton University and the Speculative Life Lab at the Milieux Institute, Concordia University Montréal.

Read it here.

Artist Talk and Bacterial Painting Workshop with Nurit Bar-Shai

Biotechnology is a fast growing field with footprints in every aspect of our lives. Engineering and manipulating life itself is not that far-fetched these days, and the technology to read and write DNA is cheaper and more accessible. This new biotechnology revolution allows artists and citizen scientists to tinker with the living world. Nurit Bar-Shai, artist and cofounder of Genspace, the first community biotech lab, talked about her artwork practice using biological systems, her collaborations with scientist and the rise of citizen science labs and DIYbio culture.

Bar-Shai is an interdisciplinary artist who works at the intersection of art, science and technology. She is the co-founder of Genspace NYC, a community biotech lab in Brooklyn, NY. As an artist and educator working with biological systems, she conducts experiments through creative collaborative inquiries and addresses the ethics and the emerging practices of Do-It-Yourself Biology and citizen science. Her artwork looks into microbial social networks and communication systems, collective collaboration, emergence, Soft-Genetic Modification and biomaterial fabrication.

Her work can be found at

More about this event here.

CFP: AAA panel – “The Ends of Infrastructure”

Call for Papers
AAA 2017
Washington, D.C.

The Ends of Infrastructure / Infrastructural Ends

The papers on this panel consider infrastructure at its edges: its test cases, frontiers, leftovers, and loose ends. We ask: what happens just past the point of connection? How and where does infrastructural construction stop? When has infrastructure decayed beyond the point of recognition? And how do infrastructure’s imaginative attachments continue to travel beyond its physical things? What futures are conjured from infrastructures’ recalcitrant remains?

While many have productively considered infrastructural failure, in this panel we are interested in its physical and conceptual ends: the points when infrastructure threatens to become other; the formations that ask us to radically reconsider what infrastructure is.

In doing so, we also aim to interrogate the life of infrastructure as a charismatic concept in anthropology, asking what it offers as well as what it obscures.

Papers on this panel will consider (but are not limited to) the following themes:
• The politics of infrastructural construction: questions of public welfare, processes of privatization, and conditions of uneven, unequal access
• Temporalities of planning, progress, ruin, and decay: when do infrastructures come into being, and when do they stop being recognized?
• The material semiotics, aesthetics and “poetics” (Larkin 2013) of infrastructure at its edge
• Infrastructure’s others: how is infrastructure distinct from nature (Carse 2014), semiosis (Elyachar 2010), or sociality (Simone 2012)? How are these cuts made, in theory and in practice?

We welcome ethnographically-informed explorations of these and other questions.

Interested participants should send a tentative title, abstract of no more than 250 words, three keywords, and institutional affiliation and current status (PhD candidate, post-fieldwork, postdoc, faculty) by Friday, March 24th.

Please direct all questions to Alix Johnson (