CCRU: Difference between revisions
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* Kodwo Eshun (music theory / afrofuturism) | * Kodwo Eshun (music theory / afrofuturism) | ||
* 0[rphan]d[rift>] (art collective / video) | * 0[rphan]d[rift>] (art collective / video) | ||
**[http://www.orphandriftarchive.com/ 0(rphan)d(rift>) archive] | |||
**[http://merliquify.com/blog/articles/hyperstition-an-introduction/ Maggie Roberts] | |||
* Jake and Dinos Chapman (famous artists / bad art) | * Jake and Dinos Chapman (famous artists / bad art) | ||
Revision as of 14:05, 14 April 2020
Hype actually makes things happen and uses belief as a positive power. Just because it’s not ‘real’ now, doesn’t mean it won’t be real at some point in the future. And once it’s real, in a sense, it’s always been
Cybernetic Culture Research Unit (CCRU)
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WHO
- Sadie Plant
- 1992 - The Most Radical Gesture: The Situationist International in a Postmodern Age
- 1995 - The Future Looms: Weaving Women and Cybernetics
- 1997 - Zeroes + Ones : Digital Women and the New Technoculture
- 1999 - Writing on Drugs
- Nick Land
- Stephen Metcalf (Nietzsche)
- Mark Fisher (music theory / capitalist realism)
- Iain Hamilton Grant (speculative realism / transcendental materialism)
- Ray Brassier (speculative realism / trascendental nihilism)
- Matthew Fuller (Software Studies / Media Theory)
- Luciana Parisi (New Materialism / Media Theory)
- Reza Negarestani (Rationalist inhumanism)
- Kode 9 (music producer / hyperdub) [Burial4life]
- Kodwo Eshun (music theory / afrofuturism)
- 0[rphan]d[rift>] (art collective / video)
- Jake and Dinos Chapman (famous artists / bad art)