Climate, Capitalism, Control (Video by Ian Alan Paul)

Watch it here.
The work aims to diagram the conjunctive power of planetary-scale computation, commodification, and climate change, and begins with the following voice-over:

“Dispersed across the surface of Earth, computer clusters electronically hum in vast air-conditioned rooms.
One models sea level rises, precipitation rates, temperature increases, and property values in coastal metropolises
over the coming thousand years. Another runs simulations of various military strategies designed to respond to
the ensemble of armed insurgencies and mass migrations that are predicted to accompany expanding droughts
and crop failures. This cluster runs affect recognition algorithms on videos streamed from malls, schools, bridges,
beaches, cafes, prisons, subway cars, and stadiums in order to forecast the spatial distribution of criminal activity
in a bustling financial district. That cluster hosts a seemingly endless grid of lush virtual gardens that users
digitally water by periodically tapping on their phones while commuting to work. These clusters compete with one
another to mine cryptocurrencies while quantitatively speculating in weather derivatives markets. All of this silicone
only senses, analyzes, and simulates the planet in order to grow as a more total power over it.”

Over the duration of the ~30 minute project, a détourned montage of YouTube videos including data visualizations, drone recordings, defense industry promotions, corporate advertisements, news reports, Silicon Valley product demonstrations, protest documentary, and machine learning research is swiped through in order to visually survey the technical, political, and aesthetic dimensions that compose our disastrous present. Voice-over narration is algorithmically performed by the synthetic voices of Google’s WaveNet deep neural network, and a soundtrack is streamed on an Amazon Alexa.
Inspired and informed by diverse revolts, militant research, and contemporary anarchist and communist thought, the project aims to explicate the entangled operations of climate, capitalism, and control as well as to speculatively propose methods of bringing about their eventual undoing. In addition to its formalization as a video essay, “Climate, Capitalism, Control” is also presented as a standalone text which can be read as well as downloaded as a pdf here:

Following its online release, I will also be organizing exhibitions and screenings of the work in the year ahead. Please don’t hesitate to let me know if you are interested in showing “Climate, Capitalism, Control” or if you know of potential events, venues, or curators that you think I should reach out to. Thank you for taking the time to read this far, and I hope that you find the project meaningful and worthwhile.

All of the best,

           ~Ian Alan Paul

Theory of the Image (OUP, 2019) OUT NOW!



The book is now available from Amazon and shortly with OUP (30% off code: AAFLYG6)

Read the introduction here.

Read the Conclusion below.

The Mobile Image


We live in the age of the mobile image. Today, more than ever before, we are surrounded by hybrid images of all kinds that circulate freely and mix with contemporary images. This incredible mobilization and proliferation of images forces us to rethink the basic structure and definition of the image itself—as something fundamentally kinetic. The advent of the digital image, defined by a continuous flow of electricity, forces us to see that the image is not and never has been a representation of a static model. Images have always had a material agency. Movement, and not representation, has always been central to the image, making possible a new materialist aesthetics. This book thus has made three main contributions to the philosophy of art and aesthetics.



Its first contribution is to offer an original kinetic theory of the image. Traditionally, the image has been viewed as either objectively or subjectively derived from something else. A relatively static object, subject, or human structure was assumed as primary and the image was what moved in between them. Even when the image has not been treated explicitly as a representation, it has typically been thought of an expression or production of something else. Even contemporary theories of images as a copy of copies or copies without originals, still miss the point. The image is not a copy and there was never a model to have gone missing. In contrast to these previous theories, this book proposes a new definition of the image as a reflection, a duplication, or a fold in moving generative matters. All images are sensuous and all sensations are images. Images both sense and are sensed. The image is thus not something strictly visible. There are images of sight and sound, just as there are images of taste, smell, and touch. The image is also not unique to humans or to organic life.


The original contribution of part I, then, is to have provided a kinetic and materialist theory of the image defined by the flow, fold, and field of sensitive matters. As such, it reorients the central problem of aesthetics and art history, moving it away from the question of representation and anthropocentric constructivism, whether linguistic, social, psychological, or otherwise, and toward the distribution and analysis of regimes of moving images with their own material agency and generativity.


The second contribution of this book is that it offers an original conceptual and historical methodology for the study of art and art history. If the study of the image is not a question of representation but, rather, of kinetic distribution, then we need to understand what kinds of distributions have been invented and to what degree and with what mixture they persist in the present. Part II of this book thus presented neither a universal ontology of affect nor a merely empirical history of works of art but, rather, a study of the kinesthetic patterns or historical regimes of aesthetic motion.

Unlike merely empirical art histories, kinesthetic regimes of motion prefigure, persist, and mix well beyond their initial empirical manifestation, making their analysis much more broadly applicable to the study of art, art history, and sensation widely construed. Thus, the kinetic method of this book makes no attempt at an ahistorical ontology of sensation, affect, or image; rather, it offers a regional ontology from the perspective of the early twenty-first century. Based on the apparent primacy of mobility revealed in the digital image, it proposes an answer to the simple question: What must images at least be like for them to be capable of this kind of motion? In doing so, it thus discovers a previously hidden dimension of all hitherto existing images: the primacy of their motion.



The third major contribution of this book is its offer of an original theory of the digital image defined by its materiality and mobility. In contrast to the first wave of new-media scholarship that defined the digital image as largely immaterial and virtual, this book provides an analysis of the material and kinetic dimensions of the digital image and its conditions of circulation. While more recent new-media scholarship seems to be taking the material dimension of the digital image more seriously, this book adds to this literature a complete conceptual and analytic framework that connects the study of the digital image with the rest of art history and the structure of affection more broadly.

The electrical flow that defines the digital image is historically novel in some ways, but not in others. The digital image thus allows an incredible degree of hybrid mobile images, but in a more general sense, electrical flows also pervade all material images. The digital image is not just about hybridity and remediation; it is also about the creative pedesis and feedback of the electrical flow itself: its generative power. This includes both contemporary digital and historical nondigital generativity. The digital image thus presents the twenty-first century with an incredible aesthetic decision: how and to what degree to treat the digital image as an instrumental tool for merely replicating images or as a means for releasing a more generative flow in all matters, thus generating completely new images.

The Birth of Nomos, Thanos Zartaloudis (2018)

This book looks absolutely essential. My only resource on this important term for the last decade has been Emmanuel Laroche, Histoire de la racine nem- en grec ancien (nemō, nemesis, nomos, nomizō) (1949).


Delves into the history of the ancient Greek word nomos (and related words) to reveal the interdisciplinary depth of this term beyond its later meaning of ‘law’ or ‘law-making’

This is a highly original, interdisciplinary study of the archaic Greek word nomos and its family of words. Thanos Zartaloudis draws out the richness of this fundamental term by exploring its many uses over the centuries.

The Birth of Nomos includes extracts from a wide range of ancient sources, in both the original and English translation, including material from legal history, philosophy, philology, linguistics, ancient history, poetry, archaeology, ancient musicology and anthropology. Through a thorough analysis of these extracts, we gain a new understanding of nomos and its foundational place in the Western legal tradition.

Key Features

  • Assembles a genealogical history of the ancient Greek work nomos, showing how it contains a richness that is not reflected in its classical and modern usage as simply ‘law’ or ‘law-making’

  • Draws on works by ancient Greek philosophers, poets and tragedians including Homer, Hesiod, Alcman, Pindar, Archilochos, Theognis, Heraclitus, Aeschylus, Sophocles, Euripides and Plato

  • Includes extracts from ancient primary sources, in both the original and in English translation, to analyse how nomos has been used in the literary evidence and in context

  • Considers how nomos has been used by contemporary philosophers, including Agamben, Foucault, Heidegger, Schmitt, Deleuze and Axelos, and re-examines their interpretations

Thanos Zartaloudis, The Birth of Nomos – Edinburgh University Press, November 2018

Architectural Materialisms: Nonhuman Creativity, ed Maria Voyatzaki (2018)

This is looks like a great collection, but the hardback price is $80!

Maps materiality’s importance in the emergent posthuman future of architecture

This book gathers 14 architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. They all argue that matter in contemporary posthuman times has to be rethought in its rich internal dynamism and its multifaceted context. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge.

Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come.

Architectural Materialisms: Nonhuman Creativity
Maria Voyatzaki


  1. Causality and Meaning in the New Materialism
    Manuel DeLanda
  2. Tangible versus Intangible Materiality: Interpreting Gaudí and the Colliding Forces of Traditional and Innovative Construction
    Mark Burry
  3. Internalising Continuous Variation
    Kas Oosterhuis
  4. Paramateriality: Novel Biodigital Manifolds
    Marcos Cruz
  5. A Vital, Architectural Materialism; a House-person’s Escape from the Anthropocentric
    Pia Ednie-Brown
  6. Performing Bitumen, Materialising Desiré
    Julieanna Preston and Jen Archer-Martin
  7. Machine-oriented Architecture: Oikos and Ecology
    Levi R. Bryant
  8. The Compass of Beauty: A Search for the Middle
    Lars Spuybroek
  9. Architectures of Air: Media Ecologies of Smart Cities and Pollution
    Jussi Parikka
  10. The Intelligence of Computational Design
    Luciana Parisi
  11. Grothendieck Toposes: Architectural and Plastic Imagination beyond Material Number and Space
    Fernando Zalamea
  12. Vicarious Architectonics, Strange Objects: Chance-bound: Michel Serres’ Exodus from Methodical Reason
    Vera Bühlmann
  13. Transmythologies
    Maria Voyatzaki

Notes on Contributors


Material Ecology: Neri Oxman’s Generative Design

Oxman’s design takes seriously the ecology and movement of matter.

Designer and architect Neri Oxman is leading the search for ways in which digital fabrication technologies can interact with the biological world. Working at the intersection of computational design, additive manufacturing, materials engineering and synthetic biology, her lab is pioneering a new age of symbiosis between microorganisms, our bodies, our products and even our buildings.