Armand’s Glitchhead (2021) in the Rearview Mirror

Over the past few years, Louis Armand has been extremely prolific in his publications. The speed with which this Prague-based writer and academic has managed to write full-length novels and sprawling poetic texts is a point of interest in its own right, and his latest publication Glitchhead must be read as part of a sprawling palimpsest of concepts, themes, conceits and, in the most general sense, writing, which Armand has recently been publishing.

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Glyphs on Feral Enterprise

A point comes when information becomes invested in the world’s matter, and this investment summons a multiplicity of affordances. Inspiration is hyperstitional vaperware come from the future which lures the animal spirits – it is never certain whether it is a trap or a genuine meal, but there is, after all, little distinction between the two. 

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From Tarot to Instagram: The Card as Dream Machine

/–––Before the material nature of algorithmic processes hid within the miniature circuits of our personal computers, it was much easier to understand programming as a material form of media inscription. Since the beginning of the 19th century, this medium was the punched card on which a program was written by means of a mechanical punch system. With the advent of digital computers, one card became the equivalent of one line of machine code. One deck of cards was one program.[1] But this sifting through media archeology tends to unearth ever older strata of our technological unconscious. The card thus shows itself as a medium which can do two things: first it provides the means to trace and compile databases, and second it allows the mediation of a previously programmed sequence of (mostly computational) processes. Cards are in this sense not only a medium for compiling information, but their sequential reading also creates the protocol for recursive logic which is the basis of all algorithmic functions.

And so I ask: what kind of computer are tarot cards?


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