killing denouement


THE STATE: لا حالة إلا الحالة

And so, another three months passed. I quit my job—with far less bombastic flourish than I would have liked—and braced myself for the heel-clicking (in pyjamas) scrabble of being a freelancer again. Engaged in some speculative craigslisting and a spot of robot flaneuring via Google Maps. And then within just a few days, THE STATE came after me, though not in the way you might expect.

Have you heard about THE STATE? It’s a new journal I’m co-editing, and I couldn’t be more excited. It launches on March 19th, both in Dubai and online—where I’ll be blogging near-daily. Here’s a bit of spiel for you:

AMIDST AUSTERITY measures today, we find ourselves increasingly precarious and pixelated; atomized, alienated, and irreparably glitched. Yet rather than attempt to definitively theorise, analyse, and explicate this contemporary situation, we found ourselves returning to these few questions: How do you speak a place? How do you speak from a place, or non- place? What might the reader expect to see from a certain region, and why? Who speaks, and in whose vernacular? We might also wonder: what came first, the tablet or the book?

THE FIRST volume is themed ‘Voicings/Articulations/Utterances.’ Fifteen writers from around the world collaborated for this inaugural issue. These pieces are joined by two website- specific installations: Fayçal Baghriche performs joblessness on a hurtling train, and Cora Kobischka explores the multilingual utterances of speaking in tongues.

FEATURED IN this issue: Jaswinder Bolina | Sophie Chamas | Alex Casper Cline | Margaret Eby | Megan Eardley | Roman Gautam | Malcolm Harris | Sean Higgins | Linnea Hincks | Wilfried Hou Je Bek | Claudia Merhej | Mena Odu | Olivia Rosane | Anand Vivek Taneja

THE STATE is a print journal and sociohistorical forum. It investigates the space between print and audio-visual experiences and their transition to mediated online forms; transgressive cultural criticism and the sensuous architecture of this “printernet.”

Or: you could have at these two wonderful interviews that Clint McLean at Art Dubai Blogs and Chris Baraniuk at The Machine Starts recently did.

Now, we did have a few design snafus that meant rethinking, and hopefully rendering more subtle, the attempt at creating a book object that works as a ‘reverse-skeuomorph.’ Only time—to the tune of a neat two days—will tell how successful this is. The content, though, I’m pretty thrilled about:

the strange odysseys of single parenting throughout the ages ♦ an immigrant, a girl riding a unicycle, and post-9/11 Ohio ♦ precarity and returning to the Gulf with your tail between your legs ♦ a critical theory of chiptune, eight bits, and the Spanish real de a ocho ♦ Money, Mississippi and the age of civil rights tourism ♦ Church of England conversions and thick, unarticulated anxieties ♦ appreciating programming code as poetry ♦ Bifo’s program of senilisation, robots, and fetishes ♦ a Krzysztof Wodiczko sonic installation, empathy, and the affective dread of war ♦ conspiracy and misogyny in Sweden, via Julian Assange and the Girl with a Dragon Tattoo ♦ adventuring in the Utrechtian cryptoforest and weedy messiahs of globalisation ♦ the politics of food under austerity and a resonant wartime Britishness ♦ experiences of Afropolitanism from okada-dodging in Lagos to coupé-decalé on the Upper West Side ♦ the church and the corporation, from medieval artisan through to graphic designer ♦ albino alligators, manholes, sewers, and the miasma of modernity

This week is Art Dubai, the Global Art Forum, the March Meeting and related sundry. If you’re here, do come to our launch, and keep a look out for some other things from me that you might see scattered around the site—probable hyperventilation and hysteria aside. Soon comes travel; reading and recuperation in NY, NOLA, Istanbul, and Hyderabad, so far. Fingers crossed for Kathmandu too. A strange re-evaulation of my relation to Dubai that might even see me regularly return. In the meantime, though, this is a pretty good illustration of my life right now.

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