Contenu du sommaire : Dépasser les bornes

This article proposes an Internet Pigeon Network as a prototype and a critique. As a prototype, it is a speculation for a community-organized, affordable, resilient internet infrastructure for the Gaza Strip that brings together different modes of building communication networks: one draws on millennia-long history of the pigeon post and the other on contemporary local WiFi and do-it-yourself networks. As a critique, it is a commentary on the possibility of establishing an infrastructure that is equitable, adaptable, sustainable, and grounded by the collaborative effort between humans, animals, and the environment that sets it in motion. The article discusses such a prototype's implications on mobility and the goal of an infrastructural ecology.

Agnieszka Anna Wołodźko's text is from the volume Tiny Mining: A Handbook for Internal Extraction, edited by Martin Howse (V2_Publishing,Rotterdam, 2022), which includes texts by Aaron Parkhurst, InesTomašek, and tiny miners specializing in metals, Kat Austen, Dennis de Bel, Alfonso Borragan, Theun Karelse, and Aniara Rodado.

This article highlights the experience of limits, experienced by the Chartreuse Terminorum's runners: a 300-kilometre race which only has known 2% of finishers. Through its history, its rules, and the physical challenge, this event illustrates various meanings of the word "limit". Based on an immersion within the peloton, the investigation sheds light on the relationships between the limits of the game and the limits of the riders, based on the notion of individual frames. These limits appear to be both a source of alienation and a source of resonance. Different styles of runner emerge. The article finally mentions an injunction to surpass oneself. It explores the sense of this commitment.

In the Arabian Gulf, several millions of women are employed as domestic workers. Originating from Africa and South Asia, they are recognized for suffering from precarious work conditions. The smartphone application TikTok, known worldwide for the choreographic videos that it broadcasts, now counts users from this job category that are recognizable by the hashtag "#khaddama" or the work uniforms they wear. The videos posted by these women highlight the issue of in/visibility as inherent in their status as marginalized migrants. By providing an account of different performances found on this app, I suggest examining TikTok as an agentic practice by means of creative procedures, and a post-numeric mode of sensory and bodily existence for negotiating marginalization.

This essay introduces two concepts for thinking about what earthlings have in common with outer space: terrestrial bias and the nightscape. The aim of these concepts, and this paper, is to explore ways in which shifts in our ordinary language can be used to bring home the importance of protecting the outer space commons, with a particular focus on the orbital commons. This focus on orbital space stems from the fact that it is orbital space that now needs to be protected and managed in light of the booming expansion of the private space industry, and from the fact that our ordinary ways of speaking about space as a common sometimes make us feel as if space is still disconnected from our everyday lives, and only something that will come to matter in some extraterrestrial future. Struggling at once to separate the orbital commons from discourses on space futurism, and to bring it down to Earth, this paper aims to suggest new ways of talking about the orbital commons that can help us to see how and why it is already part of our ordinary lives and daily existences, something that we wish to protect not for the future but because it is entangled with forms of life that we already care about and passionately.

Every Sunday afternoon, from the arrival of the New Year through to Carnival, the “bandes à pied”, groups of musicians whose distinctive feature is their circulation in urban space, liven up the streets and lower-class neighbourhoods of the Haitian capital, Port-au-Prince. From the waiting and the rituals to the movement of thousands of people, this story plunges into the meanders of these bands, often compared to torrents in flood when they reach the Champ-de-Mars in the heart of the capital city, to understand their subversive power.

My first visit to the Border Haat of Balat was in 2017. I've heard about this market, which is located on the border between India (Meghalaya) and Bangladesh, several times. Trade here is tax-free, but the rules are strict and the controls rigorous. Sellers are also limited in number. Among them is Rimaia. This narrative traces her journey to become a vendor, but also describes her typical day at the Border Haat: the pressure of time, the challenges she faces, and the informal strategies she deploys to circumvent the omnipresent military surveillance.

How can we map the dauntingly complex phenomena that characterize the Anthropocene? If it's hard enough to capture them, how much harder is it to represent them? Cartography, with its usual two-dimensional and static modalities, is incapable of providing a satisfactory account. Clearly, we need to innovate in this area, and that's what Claire Malrieux has been doing for the past nine years, using digital tools. In this interview, the artist describes the path that led her to reinvent the tools of drawing in order to create the dynamic, multi-dimensional maps that hyperobjects require. A hyperdrawing was needed to probe the Climate General.

This text was written on 6 September 2024 in Bordeaux, in conversation with ChatGPT, which was asked by Claire Malrieux to link the weather report for her city to the day's Climat Général, specifying that the narrator's aim would be to understand the objects and events encountered so as to be able to draw them. The accompanying drawings are part of the series of preparatory drawings for Climat Général.

Based on the description of display case n°6 of the Gularri gapu yothu yindi. Waterscapes from Northern Australia exhibition (22 June-26 September 2021) presented at the musée du quai Branly in co-curation with the Milingimbi Art & Culture centre in Arnhem Land, this article explores Yolŋu conceptions of the link between painting, territory, and kinship. The installation, composed of three bark paintings mapping the creative roamings of two ancestral Sisters across the landscape, takes on its full meaning in light of the stories told on the associated labels. These stories reinscribe the triptych in a multi-scalar relational ecology which blurs the very notion of border.