Supplements for Issue 62 "New Books."

Here is a list of notes and supplements for pieces published in this issue, in the order content was published in the journal.


  1. Here is a detailed analysis of Liquidity Inc. (2014) with reference to Lev Manovich’s In the Language of New Media:In The Language of New Media, Lev Manovich proposes spatial montage as a form that (re)emerged during the last three decades, along with a rise of spatiality as an important cultural paradigm, particularly in new media. Rather than construct a temporal montage that mimics the industrial logic of, for example, a Fordist assemblyline, we now easily combine disparate media elements within one screen. The tactic of spatial montage is one that Steyerl milks in the more recent work, particularly in Liquidity Inc. (2014), a story of Jacob Wood, an investment banker turned MMA fighter, and multiple forms of water. This piece appears on a screen suspended in the middle of a vast room bathed in blue light and viewers lounge on a curved structure with pillows. Language slippages flow freely: clouds / cloud computing; The Weather Underground as a TV weather report; “water can flow or it can crash” and [in finance] “ when you have liquidity you are in control.” References to finance and geopolitical events (America’s Operation Babylift during Vietnam) collide with various media forms conjured together in the same space—superimposed type, chat windows, hash tags, 3D motion graphics, printed t-shirts, auto-tune and obvious green-screen.

    Through this ADD-inducing delivery of content Steyerl pushes the spatial montage concept articulated by Manovich to the extreme by elevating structural elements such as text browsers to the level of subject. Her embrace of the post-production aesthetics of corporate television, and showcasing of artifacts from the visual vernacular of the personal computer, speak to a certain savvy accelerationism. During a public talk with Keller Easterling, Steyerl described how her experience of working with 3D graphics—i.e. lengthy rendering times—affects her editing. Montage has been replaced by algorithm, by staring at the rendering bar and making edits without being able to see them until hours later—a kind of “speculative editing.”

  2. See Keller Easterling’s book Extrastatecraft.


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    Reprint, Chapel Hill, N.C.: The Institute of Early American History and Culture at Williamsburg, Va., by the University of North Carolina Press, 1947.
  • Byrd, William. The Secret Diary of William Byrd of Westover, 1709-1712. Edited by Louis B. Wright and Marion Tinling. Richmond, VA: The Dietz Press, 1941.
  • —. William Byrd’s Histories of the Dividing Line Betwixt Virginia and North Carolina. Raleigh: The North Carolina Historical Commission, 1929.
  • Da Vinci, Leonardo. Codex on the Flight of Birds. Circa 1505.  Reprint, New York: Johnson Reprint: Harcourt Brace Jovanovich, 1982.
  • Dagognet, François. Etienne-Jules Marey: A Passion for the Trace. Trans. Robert Galeta with Jeanine Herman. New York: Zone Books, 1992.
  • Deleuze, Gilles. Pure Immanence: Essays on A Life. Trans. Anne Boyman. New York: Zone Books, 2001.
  • Findlen, Paula, Ed. Athanasius Kircher: The Last Man Who Knew Everything. New York and London: Routledge, 2004.
  • Frampton, Hollis. Circles of Confusion: Film Photography Video Texts 1968-1980. Rochester: Visual Studies Workshop Press, 1983.
  • Genuth, Sara Schechner. Comets, Popular Culture, and the Birth of Modern Cosmology. Princeton, NJ: Princeton University Press, 1997.
  • Gallagher, Catherine and Stephen Greenblatt. Practicing New Historicism. Chicago: The University of Chicago Press, 2000.
  • Greenblatt, Stephen. Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley and Los Angeles: The University of California Press, 1988.
  • Gunning, Tom. “Towards a Minor Cinema: Fonoroff, Herwitz, Ahwesh, Klahr, LaPore and Solomon.” Motion Picture 3, nos. 1-2 (1989-1990): 2-5.
  • Henderson, Brian. “Propositions for the Exploration of Frampton’s Magellan.” October 32 (Spring 1985): 129-150.
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  • LeBreton, Mrs. John. The White Magic Book: Fortune Telling at Your Fingertips. London: C.A. Pearton, 1919.
  • MacDonald, Scott. “Gentle Iconoclast: An Interview with David Gatten.” Film Quarterly 61, no. 2 (Winter 2007): 36-44.
  • Peterson, James. Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema. Detroit: Wayne State University Press, 1994.
  • Sicinski, Michael. “The Systematically Incomplete Dialectical Process, or, Articulations of Structural Mythopoeia in the Para-Classical Realm for the Metrickally Measured Linguistical Motivics and Deeply Felt Cinematic Appoggiatura of Mr. David Gatten, Gentleman,” Cinema Scope, no. 49: 40-41.
  • Simon, Bill. “Talking about Magellan: An Interview with Hollis Frampton.” Millennium Film Journal, nos. 7/8/9 (Fall-Winter 1980-81): 5-26.
  • Sitney, P. Adams. Visionary Film: The American Avant-Garde, 1943-2000. 3rd ed. Oxford and New York: Oxford University Press, 2002.
  • Stults, Chris, Ed. Texts of Light: A Mid-Career Retrospective of Fourteen Films by David Gatten. Columbus, OH: Wexner Center for the Arts, 2011.
  • Taylor, L.B. Jr. Ghosts of Virginia’s Tidewater. Charleston, S.C.: The History Press, 2011.
  • Veeser, H. Aram, Ed. The New Historicism. New York and London: Routledge, 1989.
  • Wittgenstein, Ludwig. Tractatus LogicoPhilosophicus
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  • Wollstonecraft, Mary. The Love Letters of Mary Wollstonecraft to Gilbert Imlay. London: Hutchinson & Co., 1908.