How the shift from montage to navigation alters the way images--and
art--operate as models of political action and modes of political
intervention.
Navigation begins where the map becomes indecipherable. Navigation
operates on a plane of immanence in constant motion. Instead of framing
or representing the world, the art of navigation continuously updates
and adjusts multiple frames from viewpoints within and beyond the world.
Navigation is thus an operational practice of synthesizing various
orders of magnitude.
Only a few weeks prior to his untimely death in 2014, Harun Farocki
briefly referred to navigation as a contemporary challenge to
montage--editing distinct sections of film into a continuous
sequence--as the dominant paradigm of techno-political visuality. For
Farocki, the computer-animated, navigable images that constitute the
twenty-first century's "ruling class of images" call for new tools of
analysis, prompting him to ask: How does the shift from montage to
navigation alter the way images--and art--operate as models of political
action and modes of political intervention?
Contributors
Ramon Amaro, James Bridle, Maïté Chénière, Kodwo Eshun, Anselm Franke,
Jennifer Gabrys, Tom Holert, Inhabitants, Doreen Mende, Matteo
Pasquinelli, Laura Lo Presti, Patricia Reed, Nikolay Smirnov, Hito
Steyerl, Oraib Toukan, and Brian Kuan Wood.
