continent. maps a topology of unstable confluences and ranges across new thinking, traversing interstices and alternate directions in culture, theory, biopolitics and art.
Issue 2.3 / 2012
Letter from the Editors
Paul Boshears, Jamie Allen, Nico Jenkins
With grateful hearts we offer this, the third issue of our second volume. The result of months of back-breaking thinking, emailing, looking, clicking, watching, writing and reading, our fall issue is here. The editors could not have done this without your support. We welcome your materials for our future issues as well as your continued contributions.
The End Times of Philosophy
François Laruelle
Excerpted from his recently translated book, Struggle and Utopia at the End Times of Philosophy (Univocal), Laruelle outlines a rigorous theoretical knowledge of philosophy as form of the World. Laruelle's non-philosophy is a mutation of the conservative discipline, capable of generating solutions to heretofore unaskable problems. A mutation of the field similar to that of non-Euclidean geometry. Presented here, the non-philosopher is a "heretic for the world," capable of utopia in action.
Deep Time Contagion
Andy Weir
An artist from London researching the effects of deprioritised subjectivity and contemporary art, Weir presents acoustic recordings made in deep geological repository sites. Repurposing these sites from their typical use as storage space for nuclear waste, Weir addresses the extra-human scale of Deep Time through sonic-fiction. Inhumanly enduring and impinging upon humanity largely imperceptibly, what agency—at what scale—is present?
The Method of In-between in the Grotesque and the Works of Leif Lage
Henrik Lübker
Through Lübker's explication of the tensions at work in Leif Lage's (pre)figural works, the nature of form becomes unhinged. In between cohesion and complete abandon, Lage's works teeter on the verge of presenting themselves into nothingness.
Introducing drift, a special issue of continent.
Berit Soli-Holt, April Vannini, Jeremy Fernando
We are excited to be incubating this new post-based journal project and we look forward to publishing this special project in the summer of 2013. What follows is a brief discussion between the editors of drift and statement of their intent. You can follow the progress of this project as it germinates on our server space, here.
There's No Place Like Home / L'1% C'est Moi
Andrea Fraser
First published by Texte zur Kunst and as part of the Whitney Biennial, we present Fraser's essays together express a something like claustrophobia. As the artworldmarket has become dominated by the speculative economic activities that fueled the current extreme income distribution inequalities globally, can a critique exist that is not already paying into these exploitative practices?
Euripides' Hippolytus
Sean Gurd
Euripides wrote two plays called Hippolytus of which this is the second, and in which is dramatized the tragic failure of perfection. Gurd offers two forms of translation (Uitgeverij, 2012). First, a simulacrum of the text as it might have appeared to a reader sometime shortly after Euripides’ death. The second presents the drama into the reduced but much more distinct form of modern print translations.
In Between States
Paul Amitai
Blurring history, memory, and science fiction, Amitai presents an alternate version of the State of Israel as a space station orbiting Earth, devised through collaboration between governments and multinational corporations.
The Prescience of the Untimely: A Review of Arab Spring, Libyan Winter by Vijay Prashad
Sasha Ross
“Revolutions have no specific timetable,” states Vijay Prashad in the opening line of his provocative book (AK Press, 2012). Sasha Ross inquires after the structure of history in this review: do revolutions suspend time, or are they the result of accretions that develop in the manner of a continuous structure?
Can an Art Show Like dOCUMENTA Be Dangerous ?
Thierry Geoffroy
Also known as the Colonel and the developer of Format Art, Geoffroy's works typically involve hundreds of people as they engage with contemporary art's obligation to social problems. Often humorous, immense, and unusual, these productions can induce a sense of optimism in an art market at times overwrought with cynical detachment.