How do we express our resentment, and to what ends? Recently, we’ve gotten innumerable lessons in the sense of dispossession that defines the fabled white working class, courtesy of Fox News affiliates and aspirants (and helpful, candid liberals who blame the scourge of neofascism on “identity politics”). But resentment hinges on the inability to confront the source of grievances, to speak to power and be heard. Resentment can easily be conveyed and shared—the internet is designed to channel and intensify the sentiment—but has no proper outlet. Resentment often is a cause for shame and exhaustion, rarely is a source of affection or invention. This issue is devoted to reclaiming resentment, especially as harbored by those who are used to fits of anger and bitterness being called unproductive, petty, selfish, even pathological (and not those who suddenly are indispensable props at presidential photo-ops). It asks: Who has a right to be resentful? What are the possibilities and limitations of resentment as a basis for thought and expression, intimacy and solidarity? How does resentment channel (or erode) our attention and energy? How is resentment stoked, mobilized, policed, and to what ends? Can—and must—resentment be useful? The visual identity for the issue was designed by Pianpian He, who created a visual index of resentment with colors that she associates with the feeling. She applied these colors to Hansje van Halem’s Wind font, whose styles correspond with the cardinal directions, to create patterns that reflect the vital instability of resentment and the mood of each work.
Issues
The central form for Triple Canopy’s publishing activities is the magazine issue. Issues may include digital works of art and literature, public conversations, books, editions, performances, and exhibitions. New issues are devoted to the collaborative production of bodies of knowledge around specific questions and concerns. Issues are published over the course of several months, often concurrently, at a rate of approximately three per year.
Resentment
Risk Pool
To an insurer, a risk pool is a group of individuals whose projected medical costs are combined in order to calculate their premiums. The wider and deeper these pools, the more the burden of risk (the expense of illness) may be diffused among the overlapping spheres of the healthy and the sick. So much tenderness—the precarity of health, our innate vulnerability—ripples across the bureaucratic surface. This issue considers our interdependence as reflected in the risk pool and asks: How are sickness and wellness defined today, and by whom? What are the effects of these definitions, these acts of naming and describing? How do various conceptions of malaise and deficiency mark us—as useful or useless laborers; consumers of essential oils, medical procedures, and pharmaceuticals; narrators of our own lives and the systems in which they are enmeshed; providers and recipients of care; political actors and community members? Risk Pool seeks to understand sickness not so much as a singular event or immediately identifiable state, but as a continual and nearly ubiquitous process. The issue’s visual identity, Arial All, designed by Cary Potter, confronts the inaccessibility of typography online. Arial All makes a series of extensions and adjustments to the omnipresent typeface Arial, which improve legibility for readers with dyslexia and impaired vision. Risk Pool is guest-edited by Corrine Fitzpatrick.
Vanitas
In an age defined by extremes of finitude and excess, deprivation and luxury, what is vanity? How do we register our own transitoriness even as we strive against decay and senescence, by way of cryogenics labs, biotechnology innovations, spa treatments, and the hoarding of material goods and digital files? This issue explores contemporary meditations on mortality as well as the delights, delusions, and pressures of fleshly existence, and ranges from the much-heralded “end of death” to collective processes of aging to the pursuit of impossible—or nearly impossible—forms of beauty. The name is taken from the opulent, hyperrealist still lifes popularized by Dutch and Flemish painters in the seventeenth century, which symbolize the brevity of human life and essential emptiness of earthly pursuits, even as they advertise the artist’s ability to fix time. These paradoxical images prompt us to consider how and why we strive to overcome death while reminding us of our certain mortality. The identity for Vanitas was designed in collaboration with Olya Domoradova of Werkplaats Typografie. The typeface, gc16, was designed by Bold-Decisions.
Standard Evaluation Materials
Standards harmonize bodies, regulate speech, and fix time. They’re ubiquitous, largely invisible tools for organizing social and economic life. Established by voluntary consensus or the passage of centuries, abided by gentle coercion or through habit, they're experienced in all that we record and transmit. They appear as graphical symbols on roadways and machinery; intermodal containers that pass from port to freighter to port; TCP/IP, PDF, MPEG, A4, ISBN; expressions of veneration and nationalism; models for seeing and hearing. This issue treats standards as aesthetic artifacts, political instruments, technological protocols, and linguistic codes. It asks how our lives might change if we could grasp the matrix of standardized objects and processes within which our actions and expressions are enacted and interpreted. How might we read and represent standards, inhabit and appropriate the languages of the bureaucracies and technical systems? The sinuous typeface for the issue, Zini, was designed by Studio Manuel Raeder.
The Long Tomorrow
Who bears the responsibility, and who possesses the imaginative capacity, to conceive of an ideal world? Though utopians, futurists, and visionaries have never been united under one standard, radicals and progressives used to be uniquely equipped and motivated to do this work, and today mostly defend the scraps of bygone idealism and attend to the detritus of twentieth-century achievements. But constructing an image of an alternative world, another way of living, has an essential social function, and reflects—or even determines—the agency of the constructors. This task, like forming an image of the past, is never neutral or impartial. And now those who make investments in the future—and whose investments pay off—tend to be libertarian technologists, financial engineers, and affiliates of plutocrat-funded think tanks. This issue is an exhortation to bet on the future again—to formulate propositions, predictions, and projections that make demands on the present.
Pointing Machines
This issue is devoted to the consideration of contemporary and historical modes of reproduction: copies of classical sculpture made with plaster casts and 3-D printers; texts replicated by telegraphs, pirate publishers, and PDF generators; the photograph as archetypal mechanical image, proliferating across formats such as the daguerreotype, diapositive, inkjet print, bitmap. Pointing Machines is named after the simple eighteenth-century measuring tool for reproducing sculpture in stone or wood by means of a system of adjustable rods and needles. The issue reflects on the proliferation of analogous tools and procedures in the digital age, in which the difference between goods (among them artworks) and information about those goods is constantly diminishing. Pointing Machines addresses the many forms of reproduction that unremittingly shape our daily lives—and alter the relationships between ideas and property, identity and originality—while asserting that each instance of reproduction can be generative and enriching. Pointing Machines is Triple Canopy’s contribution to the 2014 Whitney Biennial and includes an installation in the Whitney’s galleries; the issue continues the reproduction and circulation of the displayed objects beyond the museum’s walls.
Piece | Publish Date | Avatar | |||||||||||||||||||||||||
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A Note on Pointing Machines, by Triple Canopy | Mar. 7, 2014 | ||||||||||||||||||||||||||
Pointing Machines Installation (March 7–May 25, 2014) | Mar. 7, 2014 |
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Media Replication Services, with Caroline Bergvall, William Pope.L & Lisa Gitelman | Apr. 26, 2014 | ||||||||||||||||||||||||||
The Limner Performance, by William Pope.L, Anthony Adcock, Effie Bowen, Thad Kellstadt, Stephen Bartell, Lo Jan, Ja Zou Hon, Zhou Hai Hua & Xiang Yue | Nov. 20, 2014 | ||||||||||||||||||||||||||
The End of the Image, with Edward Lee, Jennifer L. Roberts, Sergio Muñoz Sarmiento, Allyson Vieira & Alexander Provan | Apr. 10, 2015 | ||||||||||||||||||||||||||
I Would Draw Her Likeness, by Lucy Ives | Apr. 14, 2015 | ||||||||||||||||||||||||||
A Chair Is a Chair, by Leah Pires | Apr. 21, 2015 | ||||||||||||||||||||||||||
Psychoanalytic Night at Hooters, by K. Silem Mohammad & Jeff Dolven | Apr. 30, 2015 | ||||||||||||||||||||||||||
I Call This One “Happiness”, by Steffani Jemison | May. 7, 2015 | ||||||||||||||||||||||||||
The Same but Similar, by Cori Hayden & Matthew Shen Goodman | Oct. 15, 2015 | ||||||||||||||||||||||||||
America: The Artist’s Eye, by C. Spencer Yeh | Nov. 17, 2015 | ||||||||||||||||||||||||||
Voice at First Sight, with C. Spencer Yeh | Jan. 26, 2016 | ||||||||||||||||||||||||||
The Twinning Room, by Gwen Muren | Apr. 19, 2016 | ||||||||||||||||||||||||||
Say “Ah”, by Abraham Adams | Sep. 13, 2016 | ||||||||||||||||||||||||||
Pointing Machines (Collected American Elegance), by Triple Canopy | Apr. 18, 2017 |
It Speaks of Others
This issue is devoted to the consideration of objects and objectivity. Today our sense of the limits of objectivity is troubled by the proliferation of intelligent, networked devices which, while not animate, possess kinds of agency and functionality that approach animateness. Perhaps humans have always lived with and among objects that resemble us and have a share in how we use language, but the efficacy and usefulness—as well as the intrusiveness—of contemporary objects is remarkable. It Speaks of Others is therefore a reconsideration of objects, across a variety of media and forms: in poetry and prose, performance, film, and other images. Here we explore materiality and fetish, the joys and failures of empiricism, automation, big data, stuff, the objectification of human beings, as well as the speech of dumb things.
Piece | Publish Date | Avatar |
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Forget Yourself Inside Me Like I Am a Vacuum and You Are the Sea, with Rebecca Patek | Oct. 12, 2013 | |
The Experiment Was This, with Ada Smailbegović, Sylvia Hardy, Lucy Ives & Molly Kleiman | Dec. 11, 2013 | |
You Are My Ducati, by Andrew Durbin | Dec. 17, 2013 | |
Of the Dense and Rare, by Ada Smailbegović & Sylvia Hardy | Dec. 20, 2013 | |
Good Dog You, with Will Rawls & Adrienne Edwards | Feb. 21, 2014 | |
CiCi Better CC Me, by Andrew Durbin & Lucy Ives | Mar. 25, 2014 | |
More Mutable Than You, with Jumatatu Poe & Jesse Zaritt | May. 19, 2014 | |
An Essay on Tickling, by Aaron Kunin | Jul. 3, 2014 | |
The Motherhood Archives, by Irene Lusztig | Jul. 24, 2014 | |
The Cinderella Complex-XXX, by Lara Mimosa Montes | Oct. 7, 2014 | |
Dog Years, by Will Rawls | Oct. 23, 2014 | |
Repair, Then Dim, by Gil Lawson | Nov. 6, 2014 | |
I Turn to the Word “Person”, by Susan Stewart & Lucy Ives | Dec. 23, 2014 | |
Some Minor Effects of Gravity, with Rosa Aiello & Kari Rittenbach | Jan. 16, 2015 | |
Too Smart for Their Own Good, by Adam Greenfield & Matthew Shen Goodman | Jan. 27, 2015 | |
The Motherhood Archives: A Screening, with Irene Lusztig, The Flaherty & Sarah Resnick | Mar. 31, 2015 | |
Don’t You Want to Have a Body?, by Alexander Provan | Jul. 21, 2015 | |
Field, Blockade, Crash, with Johanna Drucker & Matt Sheridan Smith | Nov. 3, 2015 | |
You Can’t See Any Such Thing, by Matt Sheridan Smith | Feb. 18, 2016 | |
Cloths and Ladders, by Rosa Aiello | Mar. 3, 2016 | |
Are We Still in the Game?, with Matt Sheridan Smith | May. 25, 2016 | |
The Amme Talks, by Ulf Stolterfoht, Peter Dittmer, Shane Anderson & Megan Ewing | May. 16, 2017 | |
Language Is Speaking, by Shane Anderson | May. 16, 2017 | |
Chatbot Laureate, with Lucy Ives, Nora Khan & Alexandra Kleeman | Jul. 5, 2017 | |
Cold Fingers on zis Machine, with Shane Anderson & Francesco Cavaliere | Oct. 17, 2017 |
Active Rot
The gradual loss of integrity plays out in various aesthetic milieus: A TV pilot corrupts true art, an authorless novel seeks to enter the marketplace, the degradation of the environment is countered by a scheme for a land-art-inspired green economy, Charlie Sheen’s salacity is looped. This issue recognizes the continuous phenomenal change that thwarts our best-laid plans and programs, but admits that total overhaul is rarely feasible. Instead, it focuses on evolutionary processes and the joys of departure from any original design, the likelihood that each thing is the same thing in a deceptive form, scenes from the decline of commercial viability, the work of waiting.
Piece | Publish Date | Avatar |
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Sons, by Sara Greenberger Rafferty | Apr. 18, 2013 | |
The Dynasty Handbag Show, by Jibz Cameron & Hedia Maron | Apr. 18, 2013 | |
History Works, by B. Wurtz | Apr. 18, 2013 | |
This Time We’ll Keep It a Secret, by Martin Beck | Apr. 23, 2013 | |
Danny Boy, by Rebecca Bird | Apr. 26, 2013 | |
Adaptation after Metalogue (Part 2), by Boru O’Brien O’Connell | May. 7, 2013 | |
This Can Happen Now, by Peter Fend | May. 23, 2013 | |
Gray Rainbows, by Antonia Hirsch | Jun. 3, 2013 | |
This Is Your Brain on Paper, by Isabelle Moffat | Jun. 12, 2013 | |
Headless Commercial Thriller, by Alexander Provan | Jun. 20, 2013 | |
Ride the Recoil, by Adela Jušić | Jul. 17, 2013 |
Inverted Circle
Exhumations, translations, masquerades. No matter how many times you Empty Trash, the contents are buried somewhere by Time Machine, waiting to be unearthed. For example: Richard III’s skeleton is found beneath a Leicester parking lot. An archaeology of alphabets uncovers glyphs that carry forgotten sounds. A zombie phrenology rises up from Whitman’s poetry, and into puff pieces for Time magazine. Pygmalion’s Galatea comes to life and starts working the Borscht Belt. A trio of ancient donkeys are likewise revived, and it turns out they’re comedians, too. Magnetic resonance scans pass as portraits before a jury. A Brazilian poet plays at peddling smut, but can’t help being highbrow. Liberties are taken, permissions ignored.
Piece | Publish Date | Avatar |
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Were I to Write a Longer Letter, by Kate Shepherd | Nov. 7, 2012 | |
America: A Prophecy, by Kirill Medvedev | Nov. 7, 2012 | |
Crassus Agonicus, by Hilda Hilst | Nov. 7, 2012 | |
Literary Asses, by Gareth Long | Nov. 13, 2012 | |
Noping, by Caroline Bergvall | Nov. 15, 2012 | |
Semblance of Fact, by Jan Estep | Nov. 26, 2012 | |
Popular Science, by Jena Osman | Nov. 26, 2012 | |
I Know What You Did Last Summer, by Sam Frank, Lucy Ives, Christine Smallwood & Dan Visel | Nov. 29, 2012 | |
Aba Okipasyon, by Ryan Ffrench & Emmanuel Broadus | Jan. 4, 2013 | |
Wouldn’t It Be Milchadik?, by Franklin Bruno | Jan. 30, 2013 |
They Were Us
This issue is devoted to scrubbing the bridge to the twenty-first century. Some foci of this endeavor: girls in uniforms, walking; girls of a certain age at once auguring and manifesting capital. There is so much to buy in the magazines that reflect their faces, which are clear-skinned, decorticated, architecturally sound. One woman reads Flaubert and is filled with love. Then she is filled with rage. She tries to show us simply how she sees the world, saying everything she can possibly say in one hour. Elsewhere a word that can’t be said is uttered at last because the story requires the word. Ambiguity gives way to precision, even analysis of patterns of linguistic usage. But your own interpretation may please you better.
Piece | Publish Date | Avatar |
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McDonald’s, by Joshua Cohen | May. 17, 2012 | |
Nineties, by Lucy Ives | May. 17, 2012 | |
The Melody Indicator, by Erica Baum | May. 17, 2012 | |
Preliminary Materials for a Theory of the Young-Girl, by Tiqqun | May. 22, 2012 | |
Sixty-Five Years of Treason, by Per-Oskar Leu | May. 31, 2012 | |
The Blind Man, by Sarah Crowner | Jun. 5, 2012 | |
Sir W. Mitchell-Thomson, by David Horvitz | Jun. 6, 2012 | |
Un Coeur Simple, by Ariana Reines | Jun. 19, 2012 | |
Distant Objects Becoming Near, by Benjamin Tiven | Jun. 21, 2012 | |
International Art English, by Alix Rule & David Levine | Jul. 30, 2012 |
Negative Infinity
This issue includes studies of the culture and politics of online anonymity, photographic excursions into the nether regions of the mind and the USSR. Popularity has exploded. Painted smiles peel. Scrutiny of alienation, irony, and hate leads to altruists, sociopaths, and old desperate weapons, convergences of teenage fantasy and IP militancy. Seekers arrive at bunkers and encampments and chat rooms from Yugoslavia to the Springsteen state to Zuccotti Park; they are after evidence or the smell or resources. Whitman’s multitudes, Melville’s intransigent, contra immiseration and crisis. One can't help but wonder, are these last or first men?
Piece | Publish Date | Avatar |
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Beyond Passaic, by Bryan Zanisnik | Dec. 1, 2011 | |
Moscow, by Yevgeniy Fiks | Dec. 1, 2011 | |
Amnesia Pavilions, by Nicholas Muellner | Dec. 1, 2011 | |
Forecasts, by Cathy Park Hong & Adam Shecter | Dec. 8, 2011 | |
Endgame Tourism, by Lisi Raskin | Dec. 21, 2011 | |
Our Weirdness Is Free, by Gabriella Coleman | Jan. 13, 2012 | |
Bodies Against Time, by Zoe Beloff | Jan. 17, 2012 | |
Call and Response, by Triple Canopy | Feb. 1, 2012 | |
Anonymity as Culture: Treatise, by David Auerbach | Feb. 9, 2012 | |
Anonymity as Culture: Case Studies, by David Auerbach | Feb. 9, 2012 |
Counterfactuals
In Triple Canopy’s first literary, or not not literary, issue, the promise of fact evaporates in the weird light of the subjunctive. The focus is on events transpiring on the page, on “events” “transpiring” “on” “the page.” The actual of our counterfactual is often only handwriting; a typo, a footnote, a facsimile; caps lock, scare quote, underscore. It is mere text, a line, or minor grammar; a mere sentence, mere diction, mere style, what substance. As Wittgenstein once proposed: “They say, for example, that I should have given a particular answer then, if I had been asked.” But the business of prediction, even of speculative pasts, is best left to justly compensated professionals. Dealing with the present, then, and the future in the past, the counterfactuals in this issue might not survive the time of reading.
Piece | Publish Date | Avatar |
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A Note on Counterfactuals, by Sam Frank, Lucy Ives & Dan Visel | Sep. 13, 2011 | |
The Canticle of Skoozle, by James McCourt | Sep. 13, 2011 | |
Like on the Subject of the Icebreak, by Ish Klein | Sep. 13, 2011 | |
The Sacred Prostitute, by Mina Loy & CF | Sep. 13, 2011 | |
Man / Man / Grimace / Grimace / Pivot / Pivot, by Stuart Sherman | Sep. 22, 2011 | |
Years Ago Before the Nation Went Bankrupt, by David Wojnarowicz | Sep. 23, 2011 | |
Calamities, by Renee Gladman | Sep. 30, 2011 | |
The Collected Lies of AK & All Sizes Fit One (for Peter), by Aaron Kunin | Sep. 30, 2011 | |
The Venus Problem, by Lisa Robertson | Oct. 3, 2011 | |
Rump Steak with Onions, by Rachel Harrison | Oct. 5, 2011 | |
Études, by Florine Stettheimer | Oct. 10, 2011 | |
The Patio and the Index, by Tan Lin | Oct. 25, 2011 |
Bad Actors
Chewing the scenery and reacting poorly with a certain consistency, this issue brings together reflections on the sexual magnetism of the volcano, the history of the infamous Mankato execution, passport defacement, New York real estate, the ills of dealing in art, and other acts of personal and public mismanagement. Such acts may be unintentional or may be required for a given role: It’s no easy feat, for example, for man, who evolved from the sea, to reverse the process by returning to the oceans and asserting control over the depths. Indeed, as this issue shows, the perception of acting quality differs greatly between any two given perceivers, and therefore the extent of bad acting can be quite subjective.
Piece | Publish Date | Avatar |
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Origin, Departure, by Murad Khan Mumtaz & Alyssa Pheobus | Jul. 21, 2011 | |
Esfir, by Yelena Akhtiorskaya | Jul. 21, 2011 | |
The Age of Dissolution, by Bidisha Banerjee | Jul. 21, 2011 | |
Tektite Revisited, by James Merle Thomas & Meghan O’Hara | Jul. 26, 2011 | |
Hand Held Lava, by Ilana Halperin, Karen Holmberg & Andrew Patrizio | Jul. 28, 2011 | |
Matter of Rothko, by David Levine | Jul. 29, 2011 | |
Another Portrait of Jason, by Matt Wolf | Aug. 1, 2011 | |
The Hanging at Mankato, by Claire Barliant | Aug. 4, 2011 | |
The Tale of the Big Computer, by Anna Lundh | Aug. 5, 2011 |
Black Box
This issue is devoted to considering how we view photographs—and make photographs to be viewed—online. Most of the photographs found on the Internet were shot digitally and published without any thought given to printing them in a physical form. Their material condition is not an issue. We are concerned with photographs whose materiality is at stake, for which an online presentation is disruptive, and therefore worth examining. Artists who traffic in physical photographic prints are asked to participate in a shared vision of dematerialized photography, charged with creating works intended to be experienced as JPEGs.
Piece | Publish Date | Avatar |
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A Note on Black Box, by Hannah Whitaker | May. 5, 2011 | |
To and From R.F., by Arthur Ou & Lauren O’Neill-Butler | May. 5, 2011 | |
Tahoe Passage, by Dan Torop | May. 5, 2011 | |
Sentences on Photography, by Torbjørn Rødland | May. 5, 2011 | |
Studio with Red Bag, 2009, by Roe Ethridge & Matthew Porter | May. 5, 2011 | |
Revolving Portrait, by Danny Gordon | May. 16, 2011 | |
After the Fact, by Christy Lange | May. 18, 2011 | |
Stuart Highway, Northern Territory, 2009, by Daniel Gustav Cramer & Sandra Doller | May. 20, 2011 | |
Marks of Indifference #9 (Jeff Wall), 2006, by Mark Wyse & Matthew Porter | May. 23, 2011 | |
Tableaux Mourants, by Barry Schwabsky | May. 25, 2011 | |
Information Age, by Simone Gilges | May. 27, 2011 | |
Looking Fast, by Michael Almereyda | Jun. 2, 2011 | |
State Changes, by Boru O’Brien O’Connell & Justin Lieberman | Jun. 7, 2011 | |
Receivers, 2003, by Moyra Davey & Matthew Porter | Jun. 9, 2011 |
Default Environments
In this issue, metaphors are unexamined and not. The skin of a satyr is flayed and stretched on a tree. A body withers leaving only a voice. Here expression precedes and exceeds language. A photograph succeeds where words fail. Those seeking omniscience, infinite perception, find it at the ends of gravity. A sea traveler says to a poet, “It is difficult to know a person.” The poet replies, “There are many ways a person might be known.” She sees fissures in the Arctic ice and is reminded of futures foretold by creases in the palm of a hand. These she traces in color. Elsewhere a hand is writing, ink on paper: This writing might depict a life or not at all. A written life is only partly told, partly understood, even as the Name written in light is everlasting. Revision leads so often to miscomprehension. No symbols where none intended.
Piece | Publish Date | Avatar |
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The Ultimate High Ground, by Steve Rowell | Mar. 2, 2011 | |
Sibyl and Marsyas, by Anja Utler | Mar. 2, 2011 | |
A Hole to See the Ocean Through, by Ellie Ga | Mar. 3, 2011 | |
The Document, by Sam Frank | Mar. 8, 2011 | |
Stoppages, by Beka Goedde | Mar. 11, 2011 | |
The Flash Made Flesh, by Mary Walling Blackburn & A. B. Huber | Mar. 16, 2011 | |
A Day’s Sail , by Sergio De La Pava | Mar. 18, 2011 | |
The Font of the Hand, by Joshua Cohen | Mar. 22, 2011 | |
Frontier Facades, by Warm Engine | Mar. 29, 2011 | |
The Mythoecology of Middle-earth, by Peter Nowogrodzki | Mar. 31, 2011 | |
The Quiddities, by Joe Milutis | Apr. 4, 2011 |
And Yet It Moves
This issue surveys the ground and that which surveys it from above, draws a line of force and follows it, trades violence for puppetry, confuses major and minor aspects, reckons with the originality of credit, randomizes dystopia, accounts for innumerable other conjunctions and oppositions. From space: polygonal celestial bodies and quantities of nothingness. From Pandora and Palestine: the nightmare of shamelessness. From Peru: lessons in the manufacture of high-end human-hair wigs. From Moscow: “It's like diving into the ocean—no half-steps, for all your life, but it is worth it!” All problems of drawing people into the mystery of a shared existence.
Piece | Publish Date | Avatar |
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Planetarium, by Matt Mullican | Nov. 17, 2010 | |
Happy Moscow, by Sam Frank | Nov. 18, 2010 | |
She Goes Covered, by Julia Sherman | Nov. 18, 2010 | |
Brown Skin, Blue Masks, by Nadja Millner-Larsen, Wazhmah Osman & Danyel Ferrari | Nov. 24, 2010 | |
Notes in Time, by Nancy Spero & Christopher Lyon | Nov. 30, 2010 | |
whiteonwhite, by Eve Sussman & Rufus Corporation | Dec. 3, 2010 | |
To Have Is to Owe, by David Graeber | Dec. 7, 2010 | |
A Forcing of Barriers, by Per-Oskar Leu | Dec. 15, 2010 |
Unplaced Movements
This issue charts a critical genealogy for new-media publishing by way of identifying undercurrents that have defined and enriched each successive “new” medium, and the aesthetic strategies that have persisted after the obsolescence of cassettes, floppy disks, and laser discs. The projects included in the issue were the outcome of talks, conversations, and performances that took place in late 2009 and early 2010 and positioned Triple Canopy’s approach to new-media publishing within a broader historical context: The Invisible Grammar at the NY Art Book Fair, The Medium Was Tedium at the New Museum, and an interview with digital-publishing pioneer Bob Stein as part of The Page + The Screen, a class organized with the Public School New York at 177 Livingston.
Piece | Publish Date | Avatar |
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A Note on Unplaced Movements, by Triple Canopy | Jul. 9, 2010 | |
Training in Assertive Hospitality, by Daniel Bozhkov | Jul. 9, 2010 | |
For the Rotation of the Work Never to Stop, by Daniel Bozhkov, Mel Bochner & Erin Shirreff | Jul. 10, 2010 | |
Site (After Robert Morris & Stan VanDerBeek), by Zach Rockhill | Jul. 13, 2010 | |
The Medium and the Tedium, by Mel Bochner | Jul. 17, 2010 | |
Poem, October 2009 (After Dan Graham), by Caolan Madden & Paul Hughes | Jul. 21, 2010 | |
Mao, King Kong, and the Future of the Book, by Bob Stein & Dan Visel | Jul. 23, 2010 | |
Linoleum (After Robert Rauschenberg), by Andres Laracuente | Jul. 28, 2010 | |
Unmarked Box on a Counter, by Jordan Crandall & Caleb Waldorf | Aug. 2, 2010 | |
Shadow, Glare, by Erin Shirreff | Aug. 30, 2010 |
Hue and Cry
This issue consists of creation myths, shore stories, bestiaries. An Internet play requests permission to watch and listen as you read, then asks: What fruit do you expect to reap from your fine arguments? A Belgian information scientist builds an archive of twelve million bibliographic index cards meant to catalog all the world’s information. A dictionary recognizes any of a group of colors that may vary in lightness and saturation, whose hue is that of a clear daytime sky. A Bedu hick shows the desert of Arabia to be America’s last frontier. A monkey copulates for the camera. A poet explains what you are about to see.
Piece | Publish Date | Avatar |
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Inside the Mundaneum, by Molly Springfield | Mar. 17, 2010 | |
Thirty-Six Shades of Prussian Blue, by Joshua Cohen | Mar. 17, 2010 | |
De Tribus Impostoribus, by Victoria Miguel | Mar. 18, 2010 | |
Everglade, by Lucy Ives | Mar. 24, 2010 | |
R, Adieu, by Joe Milutis | Mar. 26, 2010 | |
Sacrifice of the Banana, by Karthik Pandian | Mar. 30, 2010 | |
Horse People, by Ben Yaster | Apr. 10, 2010 | |
The Road to Freedom Village, by Sukjong Hong | Apr. 27, 2010 | |
The Sea of Trees, by Joshua Zucker-Pluda, Nine Eglantine Yamamoto-Masson & Jacob Kirkegaard | May. 4, 2010 | |
Crude Meridian, by Sophia Al-Maria, Manal Al Dowayan & Tor Eigeland | May. 15, 2010 | |
Jukeboxes on the Moon, by Rafil Kroll-Zaidi | Jul. 1, 2010 |
Urbanisms: Master Plans
The second of two issues examining our urban situation and what lies beyond it: the city’s past and future; the suburban, the exurban, the frontier. This issue understands urbanism as exceeding any fixed notion of the twentieth-century city, encompassing informatics and third-world slums, modular megachurches and modernist office towers. It seeks an urbanism that looks backward to move forward, that looks forward to see the present; an urbanism that considers the voices of those without the power to build, and the ideas of architects and planners who have built modestly, critically, or not at all.
Piece | Publish Date | Avatar |
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A Note on Urbanisms, by Triple Canopy | Oct. 27, 2009 | |
Construction, by Zs & Josh Slater | Oct. 27, 2009 | |
Daybreak, by Lucy Raven | Oct. 27, 2009 | |
The Wrong Way Forward, by Kazys Varnelis & Triple Canopy | Nov. 3, 2009 | |
Divine Wilderness, by Nathan Schneider | Nov. 5, 2009 | |
Better Underground, by Urban China | Nov. 10, 2009 | |
The VPL Authority, by Rustam Mehta, Thomas Moran & Keller Easterling | Nov. 13, 2009 | |
Dubai Dream Houses, by Zlatan Filipović & Molly Kleiman | Nov. 17, 2009 | |
Learning from Tijuana, by Teddy Cruz & Caleb Waldorf | Nov. 19, 2009 | |
It Had Just Entered Our Valleys, by Hovhannes Tumanyan, Vahram Aghasyan & Meline Toumani | Nov. 24, 2009 | |
The Anatomy of Ruins, by Bryan Finoki | Dec. 9, 2009 |
Urbanisms: Model Cities
The first of two issues examining our urban situation and what lies beyond it: the city’s past and future; the suburban, the exurban, the frontier. This issue consists of the realization of elaborate fictions; the accretion of what is designed and improvised, what is chosen and received, what is imagined and experienced. It was assembled upon awakening from an agreeable dream—of what could be bought, what could be built, what could be justified; of easy credit and adjustable-rate mortgages masking stagnant wages and yawning inequality.
Piece | Publish Date | Avatar |
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A Note on Urbanisms, by Triple Canopy | May. 5, 2009 | |
He Is Fresh and Everyone Else Is Tired, by Ian Volner & Matico Josephson | May. 5, 2009 | |
Boom, Bust, Burn, Blame: Fake Omaha, by Neil Greenberg | May. 5, 2009 | |
Index or Constructed By Way of Experiment, by José León Cerrillo | May. 5, 2009 | |
Wrong Place, Right Time, by José León Cerrillo | May. 5, 2009 | |
The City That Built Itself, by Joshua Bauchner | May. 12, 2009 | |
He Is Fresh and Everyone Else Is Tired, Part 2, by Ian Volner & Matico Josephson | May. 14, 2009 | |
What Is the Antique in Truro: A Portfolio, by Adam Davies | May. 19, 2009 | |
Wiederholungszwang, by Gil Blank & Caleb Waldorf | May. 27, 2009 | |
Gypsy Mansions, by Lev Bratishenko | May. 27, 2009 | |
Infrastructure for Souls, by Joseph Clarke | Jun. 2, 2009 | |
Moma, the High-Rise Condo, by Angie Waller | Jun. 4, 2009 | |
Monoactivité, by Jules Treneer | Jun. 9, 2009 | |
Virtual Bowery, by Dan Torop | Jun. 16, 2009 |
Idol Traffic
Journeys far and wide, remote and digitally delivered, between deities and degenerates, deliverance and circulation. This issue covers virtual prayer, analog dance; the smelling-ghost, the possessed Porky; deaths mistaken for jokes, catheters mistaken for obstructions; headbanger folkways, authenticity in crisis. Beef, biceps, and the Bhagavad Gita. Bees, wasps, and uncountable mosquitoes. People fall over themselves to be on camera. Cannibalism is the limit on the horizon of the breakfast room. The best part is that there’s hardly any improvisation.
Piece | Publish Date | Avatar |
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Flash Yr Idols, by Bidisha Banerjee & George Collins | Feb. 10, 2009 | |
Horror Film 1: Shanghai Blue, by Leslie Thornton | Feb. 10, 2009 | |
Between Scans, by Anna Sperber & Peter Kerlin | Feb. 10, 2009 | |
The Matter of Past-Loving London, by Ben Street & The International Necronautical Society | Feb. 17, 2009 | |
Tacky Souvenirs of Pre-Inaugural America, by Ben Tausig | Feb. 18, 2009 | |
Television for the People, by Ed Halter | Feb. 19, 2009 | |
The Dominican Game, by Patrick Clark | Feb. 23, 2009 | |
Mightiest in the Land, by Patrick Corcoran | Feb. 27, 2009 | |
This Little Lard, by Hassan Khan & Clare Davies | Mar. 3, 2009 | |
From ‘The Everyday’, by John Latta | Mar. 4, 2009 | |
New Black, by New Humans | Mar. 6, 2009 |
War Money Magic
This issue consists of strange bedfellows and pop dialectics. Leo Strauss with Sayyid Qutb; Stalin beside Picasso; Clement Greenberg as Emperor Palpatine. Jurassic Park read through the book of Genesis, and Heraclitus formatted for OS9. Stretched across New York and the former USSR, allegories of gentrification and displacement: Lenin presides over the downtown real-estate boom, amid Bowery condo-construction dust, while Tatars fill empty chocolate boxes with nostalgia for Crimea. Invaders and the invaded embrace, because Desmond Tutu says so. Jesus Christ by way of Walt Disney—just south of Golgotha, you’ll find the restrooms and concession stand.
Piece | Publish Date | Avatar |
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Star Wars: A New Heap, by John Powers | Nov. 11, 2008 | |
Milestones: The Noble Lie, by Adam Helms | Nov. 11, 2008 | |
Reconstruction, by Rachel Owens | Nov. 11, 2008 | |
The Stalin by Picasso Case, by Lene Berg & Sam Frank | Nov. 13, 2008 | |
Bullion with a Mission, by Barry Harbaugh | Nov. 17, 2008 | |
Homemade Memorials, by Sonya Blesofsky | Nov. 19, 2008 | |
No Other Home, by Maria Sonevytsky & Alison Cartwright | Nov. 21, 2008 | |
Heraclitus Series, by Amir Mogharabi | Nov. 23, 2008 | |
Original Ideas in Magic, by Tim Davis & Hannah Whitaker | Nov. 25, 2008 | |
Specters of a Young Earth, by Joseph Clarke | Dec. 1, 2008 | |
The Gift of Eternal Life, by Marc Vives | Dec. 1, 2008 |
NOLA
Learning from looking at New Orleans on Hurricane Katrina’s third anniversary, and finding something related to the city’s life and death. This issue eschews the rhetoric of before and after but nevertheless addresses reconstruction and resurrection, the great distance between here and there, the common impulse to narrow that distance. Walker Percy describes the experience of novelty sought by the tourist as an “immediate encounter with being”; when not satisfied, the tourist “carves his initials in a public place … as a last desperate measure to escape his ghostly role of consumer.” Instead this issue seeks description—if not of New Orleans then of something related to its life and its death.
Piece | Publish Date | Avatar |
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A Note on the New Orleans Experience, by Triple Canopy | Sep. 2, 2008 | |
Tours and Detours: Walking the Ninth Ward, by Brian Rosa | Sep. 2, 2008 | |
I Knew Then It Was All on Me, by Ben Phelps-Rohrs & Brian Rosa | Sep. 2, 2008 | |
Way of the Righteous, by Martina Batan, Alexander Provan & Peter J. Russo | Sep. 7, 2008 | |
Landfall: A Portfolio, by Will Steacy | Sep. 10, 2008 | |
Homemade Memorials, by Sonya Blesofsky | Sep. 15, 2008 | |
A World of Bad Taste, by Andy Antippas | Sep. 17, 2008 | |
NOLA directory, by Triple Canopy | Sep. 22, 2008 |
Orbiting an Absent Program
This issue reveals literature to be a dangerous occupation, or an unoriginal vocation, or an observational exercise, or an engineering endeavor. The language of the Web is juxtaposed with the language of the psychiatric ward; the Global Village Idiot awaits a friend request, Rocky Balboa occupies the Guggenheim Bilbao. Search results: “Burma is great for private parties”; “Citizens do not have a need for politics because their ruler decides for them.” Objects, prototypes, and remnants of prior experiments: a magical hairbrush; the troublesome V in Venezuela; a severed toe discovered in the mail. In other words: “There is always an angle toward the sun.”
Piece | Publish Date | Avatar |
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The Caracas Speech, by Roberto Bolaño | Jun. 3, 2008 | |
Letter from Bosnia, by Molly Kleiman | Jun. 3, 2008 | |
Brush, by Keren Cytter | Jun. 3, 2008 | |
Victory over the Sun, by Michael Robinson & Thomas Beard | Jun. 4, 2008 | |
Case Notes of a Medical Student..., by Rivka Galchen | Jun. 9, 2008 | |
Only Connect, by Ed Park & Rachel Aviv | Jun. 11, 2008 | |
The Balboa Effect, by Colby Chamberlain | Jun. 13, 2008 | |
For an Unoriginal Literature, by The Poetic Research Bureau | Jun. 16, 2008 | |
Big Brother’s Portfolio, by Andrew Ti | Jun. 17, 2008 | |
Your Country Is Great, by Ara Shirinyan | Jun. 18, 2008 | |
Personal Affects, by Joseph Mosconi | Jun. 18, 2008 | |
Street View: A Selection, by Dan Torop | Jun. 19, 2008 | |
Literary Product Trials, by Andrew Maxwell | Jun. 20, 2008 | |
Sexy Librarian, by Julia Weist & Genevieve Smith | Jun. 23, 2008 | |
You Have 33 Friends, by Jon Kessler & Sam Frank | Jun. 24, 2008 | |
You Must Kill Forty in Death..., by Jesse Ball, Thordis Björnsdottir & Beth Brandon | Jun. 25, 2008 | |
The Riddle of the Traveling Corpse, by Rebecca Bird, Jenni Knight, Caolan Madden, Elizabeth Gumport & Joanna Neborsky | Jun. 26, 2008 | |
Woven Waves + Sumi Cinema 1, by Sumi Ink Club | Jun. 27, 2008 |
The Medium Was Tedium
In this inaugural foray, months of conversations and thousands of emails between friends and strangers attain a form: a side-scrolling multimedia magazine meant for serious reading and viewing; a concatenation of essays, video poems, false reports, scripted fictions, and urban reconnaissance. Chinese paintings copying Renaissance masterpieces, sidewalk encounters, meteors hurtling into Siberia, dust swept from center to periphery. Noting the Internet’s putative freeness and rhetoric of freedom, we claim the freedom to be unreadable, but also the disciplined freedom of form; the freedom to be excessive and recessive, polemical and lapidary, lucid and obdurate.
Piece | Publish Date | Avatar |
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Introduction, by Triple Canopy | Mar. 17, 2008 | |
Chinese Customs, by William S. Smith | Mar. 17, 2008 | |
Tunguska International, by Craig Kalpakjian & Sarah Kessler | Mar. 17, 2008 | |
The State of Inauthenticity, by Peter Schwenger | Mar. 17, 2008 | |
Religious Behavior + Angus Was So Near..., by Jenni Knight & Diane Williams | Mar. 17, 2008 | |
The Tree of Knowledge, Qurna, Iraq, by Brook Wilensky-Lanford | Mar. 17, 2008 | |
To Displace & Redistribute Debris, by James Sham | Mar. 18, 2008 | |
Basic Instinct: Poems, by Descriptive Video Service & Dan Hoy | Mar. 18, 2008 | |
A Logical Love Story, by Sheila Heti | Mar. 18, 2008 | |
Outside In, by Wayne Koestenbaum | Mar. 18, 2008 | |
Transit, by Emily Richardson, Iain Sinclair & Russell Martin | Mar. 18, 2008 | |
Campaign Journal, by Rachel Mason | Mar. 18, 2008 | |
Akhmatova in Azerbaijan, by Samantha Power & Howie Kahn | Mar. 18, 2008 | |
Brush, by Keren Cytter | Mar. 18, 2008 |