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Elke Marhöfer
Pendas – Ngangas –
Enquisos – Machines
{each part welcomes the
other without saying}

Transducing a single film into
printed matter, this book
addresses the question of how
to connect the nonhumans,
animals and plants to the
postcolonial space without
deepening inflicted violations
on both people and nature? the
film “prendas – ngangas –
enquisos – machines {each
part welcomes the other
without saying}” gathers affects
of plants and animals whose
ancestors were moved to the
new world, and “had to
colonize the new land with the
humans as a team.” in present-
day cuba animals such as cows,
horses, goats, pigs and
chickens provide food and
labor, and often move around
freely. much like extended
family members some animals
share close relations with
humans. some entered the
intermediate state between
domesticated and wild, others
return to the forest to fully
reverse their domestication and
to become something else
entirely. the film sets out to
relink adamantly separated
concepts of human and animal
bodies, vegetables and history.
It suggests that nature is both,
historically situated, evoking
testimonies of past events,
while recognizing their
specificities, and at the same
time continuously growing and
surpassing historical
formatting with its unique and
machinic mode of constantly
evolving and creating
something new.

Texts by Jussi Parikka, Erin
Manning, Todd Ramón Ochoa,
Tobias Hering and René la Rosa
Elke Marhöfer and
Mikhail Lylov
Shape Shifting

Shape Shifting is the practice
of a landscape by which it
preserves and changes
Shape Shifting 
is a film as well, akin to a living
territory, both build themselves
in response to a broader
environment by transforming
their internal composition.
Being a landscape, or drawing a
cartography of a landscape is to
develop an attentiveness
towards the doings of human
and nonhuman forces. The
book brings together the
receptivity of images and the
spontaneity of words, from
there different theories emerge.
Anna Tsing develops the
conception of landscape
assemblages, scenes of
interspecies livability,
produced by ecological
disturbances. Christoph
Brunner in his contribution
proposes a theory where nature
is imbued with practices of
transvaluation. Ron Eglash and
Colin Garvey elaborate on the
sprouting self-organization of
social ecologies traversed by
the flows of energy. A
conversation between Andrea
Bellu, Elke Marhöfer, Mikhail
Lylov and Matei Bellu evokes a
dimension in which things are
always in a process, always
emerging, never finished,
scrutinizing the relation
between artistic practice and
knowledge production.

Texts by Anna Lowenhaupt
Tsing, Christoph Brunner, Ron
Eglash & Colin Garvey, Andrea
Bellu, Matei Bellu, Mikhail Lylov,
and Elke Marhöfer

Elke Marhöfer
Nobody knows,
when it was made
and why

Nobody knows, when it was
made and why takes a fresh
look at Aby Warburg’s
prominent Mnemosyne Atlas.
Reflecting on the fact that
research, be it art or science
based, is a historical and
anthropological procedure that
is closely related to
colonialism, the film and the
two essays rethink how
Warburg creates a relational
and trans-cultural
methodology. Inhuman and
animating forces of images,
things, animals, people,
minerals, amulets and dices,
solar and lunar eclipses,
intestines, magic stones and
starry heavens stemming from
Iran, Iraq, Syria and Jordan
suggest exploring Mnemosyne
Atlas outside of European
cultural history and the
imagination of itself.

Text by Jiyoung Lee
The Psychopathologies
of Cognitive Capitalism:
Part Three

Edited by
Warren Neidich

This volume is part of a series
of books that attempts to
broaden the definition
of cognitive capitalism in terms
of the scope of its material
relations especially as it relates
to the conditions of mind and
brain in our new world of
advanced telecommunication,
data mining and social
relations. It is our hope to first
improve awareness of its most
repressive characteristics and
secondly to produce an arsenal
of discursive practices with
which to combat it.  

Essays by Warren Neidich, Mark
Fisher, Mathew Fuller, Marina
Vishmidt, Franco ‘Bifo’ Berardi,
Dimitris Papadopolis, Lambros
Malafouris, Merlin Donald, Bronac
Feran, Luciana Paresi, Tyler
Coburn, Scott Lash and Anthony
Fung, Kerstin Stakemeir, Anna
Munster, John Protevi, Ryan
Trecartin, Howard Slater, David
Burrows, Ray Brassier, Amanda
Beech, Meena Alexander,
Jacqueline Drinkall, Liam Gillick.

Unfinished State
Caitlin Berrigan

Edited by
Caitlin Berrigan

Unfinished State starts from a
novel with holes bored through
its plot. Narratives of city-
branding and surges of global
capital have caused waves of
real estate development in
Berlin and Beirut, two cities
that were spatially divided by
conflict and have been under
reconstruction for decades.
Caitlin Berrigan’s artist’s book
strays from these narratives
into a shadow landscape of
unfinished and vacant
structures that remain
suspended in a state of
incompletion—fixed on the
brink of a possible future.
Across the coast of Lebanon,
influxes of capital have
mounted fountains and plazas
identical to those that
corporate developers erect in
luxury hotels and shopping
malls across the planet. Yet
there is also a striking
repetition of raw building
skeletons in concrete.

Conversations with Marwan
Aboudib, Haseeb Ahmed,
Mirene Arsanios, Charlotte
Brathwaite, Fotini Lazaridou-
Hatzigoga, Franziska Pierwoss
and Caleb Waldorf.

A series that attempts to broaden the definition of cognitive
capitalism. Published in connection to the cycle of conferences
The Psychopathologies of Cognitive Capitalism.
Vox is edited by Warren Neidich.


A series that traces the history of groups, collectives and projects
operating within the frame of art and activism. The aim of the
series is to follow the steps of activists in their strategies and
interventions to reflect upon possible forms of resistance.
Documents is edited by Chiara Figone.

The Witness

A series of readers on artists and academics whose work
problematizes the idea of how history is written, the means of
historical reconstruction, its implications and the instruments for
the recording and filing of historical events.
The Witness is edited by Chiara Figone and Paolo Caffoni

Continuous Cinema

This series features artists whose practice places itself between
cinema and contemporary art. Each volume focuses on a single
film or a body of works. 
Continuous Cinema is edited by Paolo Caffoni.

Sasha Editions

A series of cahiers that critically examine the intersections
between cinema, politics, art and philosophy. Sasha Editions 
is edited by Luisa Lorenza Corna and John Cunningham.


A series of anthologies on education and pedagogy. Looking at
self-organised and experimental processes within and outside the
institutional frame.


Inventory attempts to broaden the definition of independent
publishing by studying movements and groups that used printed
matter as a form of resistance. The series is part of a larger
research project composed by an archive of books and documents
collected and displayed in different occasions.

Feminist Futures

This series attempts to imagine feminist futures through different
formats of publication tracing feminisms’ genealogies.
Feminist Futures is edited by Chiara Figone and Nicola Guy.


The Art-iculate Series is intended to stimulate further forms of
research and engagement, as well as to function as a vital addition
to contemporary dialogues about local art environments including
specific artistic and curatorial practices occurring in Africa.
Art-iculate is edited by Warren Neidich.


A series that focuses on issues such as nowadays business world
and its new means of production, as well as the recent changes of
employment forms and their effects on the present society.
Robotnik is edited by Paolo Caffoni.