What Is Psychedelic traces New York and Berlin-based artist Aura Rosenberg's (b. 1949) trajectory from early paintings to more recent works in photography, film, sculpture, and installation. Central to Rosenberg's practice are the ways images produce and reproduce notions of spectatorship, gender, family, history, and legacy—that is, the conditions of everyday life. For over five decades, her work has challenged how such vernacular images create seemingly naturalized meanings through which people understand themselves in the world. This book complements Rosenberg's joint exhibitions at the <a href="https://weissman.baruch.cuny.edu/mishkin-gallery/upcoming/" target="_blank">Mishkin Gallery</a> and <a href="https://pioneerworks.org/exhibitions/aura-rosenberg-what-is-psychedelic">Pioneer Works</a>, curated by Alaina Claire Feldman. It pairs full-color plates of the artist's work with essays by artists, historians, and curators that offer the first comprehensive overview of Rosenberg's oeuvre. 
What Is Psychedelic is edited by Alaina Claire Feldman featuring texts by Lena Dunham, Alaina Claire Feldman, Matt Keegan, Claire Koron Elat, Laura López Paniagua, Tim Martin, John Miller, Bob Nickas, Barbara Piwowarska, Lumi Tan, and  Alexandra Tell. 
All preorders will ship the week of March 9th.

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Aura Rosenberg: What Is Psychedelic

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A compendium of creative texts examining our complex and slippery relationships with new technologies.
What will the internet of the future make possible? Untethering the Web explores the technologies, strategies, and anxieties that are coalescing in 2022 to shape a new digital paradigm. As naturalized citizens of today’s always-online world and as survivors of a multi-year pandemic, the need to reform our digital tools and approaches is more pressing than ever before. Evolved models for virtual convening, collective organizing, and digital ownership are making this possible, and a reckoning for the platformed web and its monolithic tech giants is beginning to feel imminent—but how will it all unfold, and what new pitfalls will emerge? In conjunction with Pioneer Works’ seventh Software for Artists Day, happening in October, 2022, creators, technologists, and members of our community share their visions for a flourishing digital multiverse, plus how they imagine it manifesting over time.
Software for Artists Book: Untethering the Web is edited by Willa Köerner &amp; Tommy Martinez featuring contributions from Jace Clayton, Aria Dean, Mat Dryhurst, Nora N. Khan, Jenson Leonard, Umber Majeed, Trevor McFedries, Everest Pipkin, Billy Rennekamp, Mindy Seu—plus 32 Digital Diary entries from our community.
About Software for Artists Book series
Driven by a desire to challenge existing frameworks and present creative alternatives, the Software for Artists Book series explores our complex and often slippery relationships with new technologies. Each book features the voices of critically engaged artists, researchers, writers, and organizers who are working at the forefront of the web, virtual embodiment, decentralized networks, AI, and beyond.

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Software for Artists Book: Untethering the Web

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PÒTOPRENS: The Urban Artists of Port-au-Prince is at once a portrait of Haiti’s capital, a celebration of its arts, and a visionary re-mapping of culture in the world’s first Black republic. Published to celebrate a landmark 2018 exhibition at Pioneer Works, <a href="https://pioneerworks.org/exhibitions/potoprens">PÒTOPRENS</a> comprises the first major survey of contemporary artists of urban Haiti.
Printed in both English and Haitian Kreyòl, PÒTOPRENS is a map-like reflection of the urban landscape and a new geography of popular production. The city of Port-au-Prince is a polyphonic metropolis that declares its past via multiple voices; in this volume, the city’s complex present is evoked through artworks, images, testimonies, and essays. These contents are organized around distinct zones of artistic production—urban neighborhoods identified with particular subjects, materials, and forms. Focusing on 14 of these areas’ exemplary artists, PÒTOPRENS mirrors the geography of the city that inspired it.
Contextualized by leading writers on Caribbean history and culture, these artists’ stories are situated within Port-au-Prince’s rich heritage of “majority class art.” As cities everywhere grow ever-more critical to our changing global environment, catalyzing cultural, social, political, and economic transitions of all kinds, this book articulates urban Haiti’s unbroken link with its revolutionary past. It also issues an insistent call to relocate that past, and the vital forms of expressive culture its echoes still feed, within the contemporary record.
 With an introduction by Joshua Jelly-Schapiro, PÒTOPRENS includes essays by Edouard Duval-Carrié, Leah Gordon, and Gina Athena Ulysse, and features text and artwork by Katelyne Alexis, Karim Bléus, Myrlande Constant, Dubréus Lhérisson, Ronald Edmond, André Eugène, Richard Fleming, Celeur Jean Hérard, Jean Salomon Horace (Ti Pelin), Frantz Jacques (Guyodo), Michel Lafleur, Evel Romain, Jean Claude Saintilus, and Yves Telemaque.<meta charset="utf-8">

PÒTOPRENS: The Urban Artists of Port-au-Prince

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Subcultural Karate Turtles is a satirical graphic novel by artist/musician Adam Green.  Parodying the popular Ninja Turtles cartoon, Green reimagines the turtles as subcultural artists who must battle the mainstream to determine the future of art. Set in an intergalactic Kabuki theater,  the book is a play inside of a comic book. Against the backdrop of childhood iconography, the psychedelic dialogue functions as a critique of cultural theory. 
 Adam Green is an artistic polymath—a songwriter, filmmaker, visual artist, and poet.  A co-founder of The Moldy Peaches and author of ten solo-albums, his songs have been performed by artists as diverse as The Libertines, Carla Bruni, Kelly Willis, Dean &amp; Britta, and Will Oldham. Green’s paintings and sculptures have been the subject of exhibitions in America, Asia and Europe, including a 2016 show at the Fondation Beyeler Museum in Basel, Switzerland.  He wrote and directed the feature film The Wrong Ferarri (2010), the first feature film shot entirely on an iPhone, and Adam Green's Aladdin (2016) which Buzzfeed.com described as “the trippiest movie ever made." In 2019, Green released War and Paradise, a graphic novel combining his lyrical and visual vocabulary. The satirical war epic is about the clash of humans with machines, the meeting of spirituality with singularity, and the bidirectional relationship between life and the afterlife.   
Green’s 10th and latest solo album, Engine of Paradise, is a musical exploration of these same themes. Recorded in Brooklyn, New York, by Loren Humphrey, the album reimagines the baroque orchestral style of his early 2000s era records and features performances by James Richardson (MGMT), Florence Welch (Florence and the Machine) and Jonathan Rado (Foxygen).  
 In 2020, Green published an epic-poem MDVL: 1,000 Years of Dark Ages with Spheres Projects, a section of which was included in the Poetry London literary journal. This was followed by an animated movie version of the poem, narrated by Green, in the style of a medieval illuminated manuscript.

Subcultural Karate Turtles

<a href="https://pioneerworks.org/exhibitions/lj-roberts-carry-you-with-me-ten-years-of-portraits" target="_blank" rel="noopener noreferrer">Carry You With Me: Ten Years of Portraits</a> is the result of a long-term, ongoing project by LJ Roberts, consisting of six-by-four-inch embroidered portraits of the artist’s friends, collaborators and lovers within New York City’s queer and trans communities. Stitched entirely by hand and typically completed during transit on subway trains, these textile works—culminating in Roberts’s first New York solo exhibition at Pioneer Works as well as this first ever publication—aim to illustrate how politics, culture, and identity manifest in both visible and subtle ways through everyday encounters in daily life. In this companion book, each illustration is paired with an anecdotal passage wherein the artist reflects on the deeply personal companionships and shared moments with the depicted subjects. Text contributions by Carmen Hermo, Tirza Latimer, Theodore (ted) Kerr, and TT Takemoto further contextualize the work series within Roberts’s practice.
LJ Roberts is an artist working in installation, textiles, collage, and text. Their practice addresses queer and trans politics, material deviance, alternative kinship structures, archives, and narrative. Based in Brooklyn, the artist has exhibited work at institutions such as the Smithsonian Museum of American Art, Brooklyn Museum, Toledo Museum of Art, The 8th Floor, Leslie-Lohman Museum of Art, Museum of the City of New York, Victoria and Albert Museum, Yerba Buena Center for the Arts, Spring/Break Art Show, La Mama Galleria, and Anthology Film Archives. Roberts is a 2021 Socrates Sculpture Park Artist Fellow, and has been an artist-in-residence at IASPIS, Ox-Bow School of Art, Queenslab, Textile Arts Center, Pioneer Works, and MacDowell. They were one of nine recipients of The White House Champions of Change Award for LGBTQI+ artists in 2015, and received the Women's Caucus for Art President's Award for Art and Activism in 2019.

Carry You With Me: Ten Years of Portraits

Les Filles de Illighadad: At Pioneer Works, Limited Edition Gold Vinyl LP

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An Orange

Software for Artists Book: Building Better Realities

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<a href="https://www.youtube.com/watch?v=xyZzvWyRpSA" target="_blank">Listen</a> to the first single “Sleeping Without You Is A Dragg” Featuring Jenny Lewis, Justin Vernon (Bon Iver), &amp; Channy Leaneagh (Poliça).
<a href="https://lnk.to/swampdogg-memories" target="_blank">Listen</a> to the second single “Memories” feat. John Prine. 
To order all other editions and the digital album, please visit <a href="https://www.joyfulnoiserecordings.com/products/sorry-you-couldnt-make-it" target="_blank">Joyful Noise Recordings</a>.
About the Record Jerry Williams’—aka Swamp Dogg—first love was country music, listening to it as a Navy family kid growing up in Portsmouth, Virginia. “My granddaddy, he just bought country records out the asshole,” Swamp remembers. “Every Friday when he came home from the Navy yard he’d stop off and get his records, like Mule Train by Frankie Laine, or Riders in the Sky by Vaughn Monroe.” His first time performing on stage, in fact, was a country song at a talent show when he was six years old: “I did Red Foley’s version of ‘Peace in the Valley.’”
While the 77 year-old Williams’ most enduring persona is the psychedelic soul superhero Swamp Dogg—a musical vigilante upholding truths both personal and political since 1970’s immortal album, Total Destruction To Your Mind—he will tell anybody who will listen that he’s considered himself country this entire time. “If you notice I use a lot of horns,” Swamp says. “But actually, if you listen to my records before I start stacking shit on it, I’m country. I sound country.”
Swamp began his professional singing career as Little Jerry Williams back in the ‘50s before working as an A&amp;R man for Atlantic Records in the late ‘60s. His biggest hit is actually a country song: 1970’s “Don’t Take Her (She’s All I Got).” Written with his best friend Gary U.S. Bonds, the track is country in that woeful, underdog-baring-their-soul sort of way that for some reason only country songs really ever allow themselves to be. Freddie North covered it first and made it a Top 40 pop song, but Johnny Paycheck took it all the way to #2 on the country charts in 1971.
Following 2018’s critically acclaimed, Ryan Olson-produced <a href="https://www.joyfulnoiserecordings.com/products/love-loss-and-auto-tune" target="_blank">Love, Loss, And Auto-Tune</a>—his first LP to debut on 11 Billboard charts (including at #7 on ‘Heatseekers’) and his first chart ink since his 1970 song “Mama’s Baby – Daddy’s Maybe”—Sorry You Couldn’t Make It allows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville’s Sound Emporium with Olson as producer once again, and backed by a crack studio band led by Derick Lee, a keyboard virtuoso who worked as the musical director of BET’s Bobby Jones Gospel Show for nearly four decades. Nashville guitar firebrand Jim Oblon combusts his way through lead duties, while frequent collaborator Moogstar and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, Channy Leaneagh and Chris Beirden of Poliça, and Sam Amidon join the action throughout.
A band of 14 players, including Vernon, Lee, Beirden, and Moogstar, among others, provides the background for Swamp’s devastating new take on “Don’t Take Her (She’s All I Got).” Lead single “Sleeping Without You Is A Dragg” is one of Swamp’s most heartfelt songs to date and features Vernon on piano as well as backing vocals by Lewis and Leaneagh. He duets with country-folk legend Prine on two songs (“It’s the first time I seen John since the sixties!” laughs Swamp): the indelible, psychedelic ballad “Memories” and the reflective “Please Let Me Go Round Again.” Originally written and demoed in his forties, “Please Let Me Go Round Again” is a plea for one more chance at life, sung with acute emotional connection.
These are narratives about love, of missing the one you love, of compassion, family and friends, and even the kind of love that transcends death. “I was looking for a new way for Swamp Dogg to go,” he explains. “Apart from me singing and writing most of the songs, I didn’t participate—in other words, I told ‘em, ‘Don’t ask me, I wanna see what happens without my influence.’ It was hard for me to do, ego-wise.”
Sorry You Couldn’t Make It sees Swamp come full circle, and closes what has felt to him like unfinished business. “They didn’t have any blacks in country until Charlie Pride came along,” he says. “But in time, all things change and that’s what has happened to country music.” Surveying today’s Nashville reality, Swamp sees opportunity: artists as divergent as Darius Rucker and Lil Nas X are converging in a genre that he once worried might never give him his shot. “I’m anxious because it’s like I’ve taken all my money and put it on one horse,” he says. “But I believe in this horse.”
Sorry You Couldn’t Make It was made in collaboration with Joyful Noise Records.

Sorry You Couldn't Make It Limited Edition

Swamp Dogg: Sorry You Couldn't Make It Limited Edition

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In War and Paradise, a graphic novel by creative polymath and Moldy Peaches founder Adam Green (born 1981), the internet meets the Middle Ages and satire becomes the most logical response to our own wildly confusing, nonsensical world. A spiritual sequel to the 2016 cult film Adam Green's Aladdin, the story follows our hero Pausanias, a geographer of the soul, alongside a cast of unconventional characters through a kaleidoscopic landscape of absurdism, illustrated in full color by musician Toby Goodshank, animator Tom Bayne and Green himself.  Released concurrently with Green's tenth album Engine of Paradise, this book cuts social commentary with laughter and imagination, all reflected through the artist-musician's characteristically quirky style.

War and Paradise

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We Were Promised Flying Cars

Simultaneous Soloists

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A collaboration between visual artist Jacolby Satterwhite and musician Nick Weiss—one-half of Teengirl Fantasy—PAT takes its name from Satterwhite’s mother Patricia, who suffered from schizophrenia and died in 2016. She left behind hundreds of a capella recordings on cassette tapes as well as abstract drawings of home goods, such as wet wipes, sugar cubes, and toothbrushes. Incorporating her recordings into their work, Satterwhite and Weiss remixed and manipulated Patricia’s voice into propulsive, electronic dance tracks featuring a range of other collaborators. Love Will Find A Way Home was created in conjunction with Jacolby Satterwhite’s exhibition, <a href="https://pioneerworks.org/exhibitions/jacolby-satterwhite-youre-at-home/" target="_blank">You’re at home</a>.
Love Will Find A Way Home contains a deluxe hardcover gatefold LP + book which features 2 vinyl LPs; heavy-duty board gatefold jacket; printed inner LP sleeves; high-res Bandcamp download code; and a 34-page color artist book.
<iframe height="300" width="300" style="height: 300px !important; margin: 2em 0;" src="https://open.spotify.com/embed/track/3Uo8wthstxW0JbWOLTDdcF" loading="lazy" frameborder="0"></iframe>
Jacolby Satterwhite was born in 1986 in Columbia, South Carolina. Satterwhite’s work has been presented in numerous exhibitions both in the United States and in Europe, including most recently at Pioneer Works, Fabric Workshop &amp; Museum, Whitechapel Gallery, the Museum of Modern Art, the Minneapolis Institute of Art, the Museum of Contemporary Art, and many more. He was awarded the United States Artist Francie Bishop Good &amp; David Horvitz Fellowship in 2016. His work is included in the collections of the Museum of Contemporary Art Kiasma, Museum of Modern Art, Studio Museum in Harlem, and the Whitney Museum of American Art, among others. In 2019, Satterwhite collaborated with Solange Knowles on her visual album, When I Get Home.
Nick Weiss began his music career as one-half of Teengirl Fantasy, an ever-evolving electronic music duo established in 2009. Weiss and bandmate Logan Takahashi’s music as Teengirl Fantasy has been described by critics as “dream-beat,” an atmospheric yet driving sound that pulls elements from deep house to shoegaze. Weiss participated in the 2014 Red Bull Music Academy in Tokyo under his new solo production guise Nightfeelings, and has since co-produced albums for artists ranging from SSION’s noise pop to Lafawndah’s ritual club music. For the past three years, Weiss has collaborated with Jacolby Satterwhite on re-imagining his mother Patricia’s a capella songs as electronic odysseys.

Love Will Find A Way Home

PAT: Love Will Find A Way Home

Making and Being: Embodiment, Collaboration, and Circulation in the Visual Arts

A disassembler is a reverse engineer tool, a computer program that translates machine language (code) into assembly language for humans to understand. Drawing from Maria Antelman’s <a href="https://pioneerworks.org/exhibitions/maria-antelman-disassembler/" target="_blank">eponymous video installation</a>, Disassembler juxtaposes technical instructions for Amazon’s newly engineered wristband—designed to control and monitor every movement of the worker’s hand to optimize performance—with experiential depictions drawn from the organic world. In doing so, the artist raises questions about the physical and psychological impact that the automated industry exerts on the human body and society.
<span data-sheets-userformat='{"2":705,"3":{"1":0},"9":0,"10":1,"12":0}' data-sheets-value='{"1":2,"2":"Maria Antelman (b. 1971, Athens, Greece) is a video artist based in New York. She studied Art History at the Complutense University in Madrid and holds an MFA from Columbia University. Her work has been shown in recent exhibitions at Daata Editions; Marinaro Gallery, New York, NY; Videonale, Bonn, Germany; and Apex Art, New York, NY; The Agency, London, UK; and Melanie Flood Projects, Portland, Oregon. She has been awarded grants from the J.F. Costopoulos Foundation and residencies at ISCP and Pioneer Works, both in New York. Her work has been featured and reviewed in Art in America, Art Papers, Flash Art, zingmagazine, and artforum.com."}'>Maria Antelman (b. 1971, Athens, Greece) is a video artist based in New York. She studied Art History at the Complutense University in Madrid and holds an MFA from Columbia University. Her work has been shown in recent exhibitions at Daata Editions; Marinaro Gallery, New York, NY; Videonale, Bonn, Germany; and Apex Art, New York, NY; The Agency, London, UK; and Melanie Flood Projects, Portland, Oregon. She has been awarded grants from the J.F. Costopoulos Foundation and residencies at ISCP and Pioneer Works, both in New York. Her work has been featured and reviewed in Art in America, Art Papers, Flash Art, zingmagazine, and artforum.com.
<a href="https://pioneerworks.org/exhibitions/maria-antelman-disassembler/">Maria Antelman: Disassembler</a> is produced by the Onassis Foundation USA.
<img height="101" width="131" src="https://pioneerworks.org/wp-content/uploads/OFUSA_color_horiz-300x232.jpg" loading="lazy">

Disassembler

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Miss Information (aka Miho Hatori of Cibo Matto, Smokey &amp; Miho, and Gorillaz, amongst others) created this album while in residence at Pioneer Works with a simple concept: “What if information was a woman?” Hatori positions information as something akin to the moon, a mysterious natural energy that, in her words, “brings change to the planet.”
The first song she released—appropriately, “Miss Information Theme”—is about the goddess of information ending up in Los Angeles and having plastic surgery. Hatori’s conceptual data flow for Sequence progressed from there.
<span data-sheets-value='{"1":2,"2":"Miho Hatori is a singer / musician / visual artist, primarily known as the vocalist of the legendary NYC group Cibo Matto. She has done many collaborations with artists such as the Beastie Boys and Gorillaz. She is currently developing her other project, New Optimism, creating music and fashion.\n\nMiho is originally from Tokyo, but has been working and living in NYC for too many years."}' data-sheets-userformat='{"2":705,"3":{"1":0},"9":0,"10":1,"12":0}' data-mce-fragment="1">Miho Hatori is a singer / musician / visual artist, primarily known as the vocalist of the legendary NYC group Cibo Matto. She has done many collaborations with artists such as the Beastie Boys and Gorillaz. She is currently developing her other project, New Optimism, creating music and fashion.
Miho is originally from Tokyo, but has been working and living in NYC for too many years.

Sequence

Miss Information: Sequence

Marijuana Deathsquads’ Tuff Guy Electronics is the first new music that the Minneapolis centered collective has released since 2013. It simultaneously sounds like a heavily digitized ride on the ≈ highway and a droll stroll through the apocalypse, the kind of music only people with conceptual talent to burn (and an inherent desire to touch that flame) choose to envision. It’s a pop-avant-garde paean to the space between an abstract higher power and the creative open road—full of primal groove and techno subtlety, but beholden to neither.
<span data-sheets-value='{"1":2,"2":"Marijuana Deathsquads is a Minneapolis-based noise band with an electronic, improvised, experimental sound that that defies listener expectations and easy categorization. Their ear-bending improv/dance grooves have been steadily blowing eardrums, breaking drum heads and tearing at the seams of conventional music-making since the Deathsquads semi-mysterious inception in 2009. The Deathsquads lineup is a loosely defined and mutating structure, its core consists of long time Marijuaners Ryan Olson, Ben Ivascu and Isaac Gale. These names are constants amidst a blur of collaborators."}' data-sheets-userformat='{"2":705,"3":{"1":0},"9":0,"10":1,"12":0}' data-mce-fragment="1">Marijuana Deathsquads is a Minneapolis-based noise band with an electronic, improvised, experimental sound that that defies listener expectations and easy categorization. Their ear-bending improv/dance grooves have been steadily blowing eardrums, breaking drum heads and tearing at the seams of conventional music-making since the Deathsquads semi-mysterious inception in 2009. The Deathsquads lineup is a loosely defined and mutating structure, its core consists of long time Marijuaners Ryan Olson, Ben Ivascu and Isaac Gale. These names are constants amidst a blur of collaborators.

Tuff Guy Electronics

Marijuana Deathsquads: Tuff Guy Electronics

CHARAS: The Improbable Dome Builders

Sleep, Death’s Brother is an instruction manual on dreaming that is intended for children or incarcerated persons. It enables such individuals to learn to lucid dream and to use their dreams to somewhat escape their situations. Like death, sleep is a kind of boundary, dividing waking life from the realm of dreams. While it is often the case that dream life is passively experienced, acclaimed novelist Jesse Ball (born 1978) reminds that it can be otherwise; that dreaming life is also a place where a sense of agency can grow. Even in the midst of physical or emotional environments that do not support such development in waking life, dreams are a place where one can take control. Ball calls for bravery in the exploration of this practice, and provides the dreamer with useful habits and techniques. Full of affirmation and wisdom, Sleep, Death’s Brother is a guidebook “for all oneironauts young and old.”

Sleep, Death’s Brother

The Anhoek School is a nomadic pedagogical experiment that analyzes educational structures and investigates alternatives to traditional North American methods for learning. Under the auspices of the school, the Anhoek Record Examination–an obscene form of the Graduate Record Examination–aims to gum the data production and collection of standardized testing as well as question the ideological underpinnings behind it. Compiled by Beatriz E. Balanta and Mary Walling Blackburn, Quaestiones Perversas gathers together unruly record examinations (Beautiful Economy; The Reproductive; F|Slash|F), a traumatizing listening lab (Doggy… Doggy), and a physical fitness test that maims more than it measures. The answer keys are an intervention/irruption of poesis in the field of systematicity or the lust for order: the position of the father and the controlling language of the state. The book undoes the benign voice of the test, awakens the reader to the history of violence embedded in the form, and activates it as a site for aesthetic expression.

Quaestiones Perversas

Published once a year, Pioneer Works Journal is our magazine with readings that encompass art, music, science, and alternative education. In Pioneer Works Journal, we extend the conversation happening at Pioneer Works into a supplement for all your inter-disciplinary needs. We hope this archive of evolving discussion becomes an indispensable document in your search for knowledge without advertisements.

Pioneer Works Journal

Pioneer Works Journal (Intercourse 5)

Perhaps most well known for the iconic sculpture Cadillac Ranch and performances like Media Burn, the radical architecture and media art group Ant Farm created an abundance of works across disciplines — including video, publications, built environments, and performance. Less known are the group’s “time capsule” works made throughout their career, which rejected the idea of the time capsule as a reliable means of cultural preservation.
Published as a supplement to the exhibition <a href="http://pioneerworks.org/exhibitions/the-present-is-the-form-of-all-life-the-time-capsules-of-ant-farm-and-lst/" data-mce-fragment="1" data-mce-href="http://pioneerworks.org/exhibitions/the-present-is-the-form-of-all-life-the-time-capsules-of-ant-farm-and-lst/">The Present Is the Form of All Life: The Time Capsules of Ant Farm and LST</a>, this book features essays, an interview with LST, and many never before published or reproduced images of archival material, tracing the time capsule works of Ant Farm and successor group LST from analog archive to digital database.
Within the cover of this artist edition of The Present Is the Form of All Life: The Time Capsules of Ant Farm &amp; LST, lies the Pioneer Works Time Capsule, a USB drive containing 1,518 images. These images were collected by the HUQQUH device at random, when viewers plugged their smartphone into the device during the exhibition exhibition <a href="https://pioneerworks.org/exhibitions/the-present-is-the-form-of-all-life-the-time-capsules-of-ant-farm-and-lst/" data-mce-fragment="1" data-mce-href="https://pioneerworks.org/exhibitions/the-present-is-the-form-of-all-life-the-time-capsules-of-ant-farm-and-lst/">The Present Is the Form of All Life: The Time Capsules of Ant Farm and LST</a>. The time capsule was sealed on October 16, 2016 at Pioneer Works.
As custodian of this time capsule, you should remove the USB drive from the adjacent circle when the value of the past is greater than the value of the present.

The Present Is the Form of All Life: The Time Capsules of Ant Farm and LST [ARTIST EDITION]

The Present Is the Form of All Life: The Time Capsules of Ant Farm and LST

A text for teachers who want to reconsider hierarchy in their classrooms and for those curious about education as a context for creativity and collaboration. Drawn from Ball’s experiences teaching at the School of the Art Institute of Chicago, Notes on my Dunce Cap includes advisory material regarding the role of the teacher, the creation of syllabi, and the manner in which groups may evaluate the work of an individual without harm. Alongside these notes that reflect on his teaching practice, sample SAIC syllabi create contexts in which students develop habits that become the basis for a writing practice. Reading lists cover topics such as child protagonists, the dérive, and fairytales, and classroom procedures encourage students to lucid dream, take long walks without cellphones, and participate in the Franz Kafka Fancier Society of Chicago. Ball describes dynamic ways to ask questions, facilitate discussion, organize exhibitions, and incorporate theatrical elements to draw the most out of students and teachers alike. Ball shakes up classroom habits and breathes new life into reading, questioning, teaching, and learning.

Notes on My Dunce Cap

A collaborative, hybrid composition: part essay, part poem, and part social media collage. The authors cannibalise traditional research methods, for a more personalized, technology based process. While meditating upon Kurt Schwitter’s notion that “the medium is as unimportant as I am myself,” they confront historical traumas through the body of real and virtual environments. Establishing online personas on Myspace, Yelp and Twitter, they explore the real feelings that attach themselves to these expressions of self, the real sense of desire, connection, affirmation and friendship, as well as possibilities of destruction and loss. The relationship to the mother, a candlepin bowling league and an online Korean roleplaying group are the social environs through which the authors are made to grapple with their own sense of isolation and otherness in the digital age, the blind energy of desire, and the strangeness of tears.

I Cry: The Desire to Be Rejected

Redwood

Between these not-too-glossy pages you’ll find our distinct combination of atypical prose, poetry, conversation and artwork. Critic Daniel Mendelsohn and artist David Salle discuss cultivating taste, the lead singers of theButthole Surfers and The Flaming Lips debate selling out, and marine biologist David Gruber and artist/historian Katherine McLeod explore the legacy of William Beebe and the future of deep sea exploration. 
Dan Graham reflects on the Zodiac, Matthew Niederhauser shares photos of ersatz architecture in China, Genesis P-Orridge lets us read h/er journals and Greg Kloehn builds and distributes single-occupancy houses to homeless friends.
Tom McCarthy shares thoughts on his new novel that’s almost about Staten Island and Iain Boal traces the scourge of automobilism. And Devin Troy Strother sexes that rectangle.

Intercourse 4

It was a time that was a time

This thermal wearing, company-keeping, soul-warming winter edition is like philosophy without the jargon, Internet without the boredom, solipsism without the self, handcuffs without the cops. Ben Lerner discusses Wallace Stevens, his newest book 10:04, and visions of the future. Astrophysicist Janna Levin and science writer James Gleick rap about time—is it a carpet or a hill and what is it like to walk through bread? Hip Hop pioneer Fab 5 Freddy remembers when he first discovered kung-fu films. Poet Andrew Durbin deconstructs the “Bro.” And Adam Green talks to Weyes Blood about the scourge of likeability and normcore.
All that, plus a roundtable with Dorothea Rockburne, Ron Gorchov, and Trueman MacHenry a retrospective portfolio of the late, great, Dan Asher; improvisational music and the Civil Rights Movement; the way we bury the homeless; Paul Laffoley watching Andy Warhol’s TV; and the first video sharing collective, Radical Software. And more.

Intercourse 3

Tongue Stones

Issue 2 features essays on a hypothetical footbridge between Brooklyn and Governors Island; a high school project called Foxfire that became the inadvertent guidebook for the 70s back-to-the-land movement, and a discussion with Edward Frenkel about the true nature of mathematics. Performa’s RoseLee Goldberg and Ubuweb’s Kenny Goldsmith discuss the avant-garde and Ariel Pink talks to Animal Collective about horror and childhood. Other features include conversations with Carol Bove and Trevor Paglen, psychedelic celluloid, Ana Mendietta‘s lost earthworks, and the creative power of humiliation. There’s even new fiction from Jesse Ball. We hope this idea archive and record of an evolving discussion becomes an indispensable document in your search for knowledge.

Intercourse 2

The Six-Sided Force

The pocket series Groundworks is devoted to statements and propositions that elude categorization and seek to broaden the parameters of their subjects. Groundworks features unique volumes of essays, poetry, pedagogy, theory, conversations, lectures, and experiments in hybridization. The ideas developed in the series are foundational touchstones in the mutation and adaptation that are vital to the evolution of cultural discourse.
This bundle consists of all 4 publications:
<a href="https://pioneerworks.myshopify.com/admin/products/4299444486202" target="_blank" rel="noopener noreferrer">Notes on my Dunce cap</a> by Jesse Ball
<a href="https://pioneerworks.myshopify.com/admin/products/4299418763322" target="_blank" rel="noopener noreferrer">Sleep, death´s brother</a> by Jesse Ball
<a href="https://pioneerworks.myshopify.com/admin/products/4299445239866">I Cry: The Desire to Be Rejected</a> by Amy Lawless &amp; Chris Cheney
<a href="https://pioneerworks.myshopify.com/admin/products/4299419844666">Quaestiones Perversas</a> by Beatriz E. Balanta &amp; Mary Walling Blackburn

Groundworks Pocket Series Bundle

<a href="https://pioneerworks.myshopify.com/admin/products/6664440741946" target="_blank" rel="noopener noreferrer">Subcultural turtles</a> is a satirical graphic novel by artist/musician Adam Green.  Parodying the popular Ninja Turtles cartoon, Green reimagines the turtles as subcultural artists who must battle the mainstream to determine the future of art. Set in an intergalactic Kabuki theater,  the book is a play inside of a comic book. Against the backdrop of childhood iconography, the psychedelic dialogue functions as a critique of cultural theory. 
 <a href="https://pioneerworks.myshopify.com/admin/products/4299397464122" target="_blank" rel="noopener noreferrer">War &amp; Paradise</a>
In War and Paradise, a graphic novel by creative polymath and Moldy Peaches founder Adam Green (born 1981), the internet meets the Middle Ages and satire becomes the most logical response to our own wildly confusing, nonsensical world. A spiritual sequel to the 2016 cult film Adam Green's Aladdin, the story follows our hero Pausanias, a geographer of the soul, alongside a cast of unconventional characters through a kaleidoscopic landscape of absurdism, illustrated in full color by musician Toby Goodshank, animator Tom Bayne and Green himself.