"Swedish culture is still marked by an age-old taboo against complaining and voicing discontent, at least in public. To the very end Andrée and Strindberg must have considered their notebooks semi-public. How could we otherwise explain their complacency in the face of contingencies that were certainly 'linked in a fatal chain'? We have no choice but to remain true to the arrogance and naivety of our own psychological world view. We must substitute our own anxieties for theirs and give voice to their fear of death, retroactively." Anders Kreuger, in Joachim Koester, Message from Andrée Five artists' books and one general catalogue document the works of Eva Koch, Joachim Koester, Peter Land, Ann Lislegaard, and Gitte Villesen. Conceived in close collaboration with each artist, the books focus on this younger generation of Danish artists who were a part of the international breakthrough for Danish visual art during the 1990s. The books trace how in their various artistic practices the artists are all preoccupied with the representation of reality within or beyond the real. ContributorsPeter Adolphsen, Bill Arning, Anders Kreuger, Sanne Kofod Olsen, Anette Østerby, Mai Misfeldt and Marianne Torp, Vibeke Viboldt Knudsen, Lars Erik Frank, Daniel Pies, et al.
The pilot episode of a TV series that perversely aims to make Kafka's tales palpable for toddlers. Roee Rosen's film Kafka for Kids is set as the pilot episode for a TV series that perversely aims to make Kafka's tale "The Metamorphosis" palpable for toddlers. In its title, the film Kafka for Kids implies that the intellectual great of modern literature will finally be presented in a way that is generally understandable. Roee Rosen wants to present Franz Kafka, of all people, with his contorted thought constructions, in a way that is even accessible to kids! But unfortunately, that's not how things turn out: the star writer of the educated middle class is not simplified, but his story becomes much more complex, corresponding to reality, for reality is more complicated than we like to represent using biaxial graphs. Featuring the original script of the movie, readers are invited to dive into a magical story, followed by essays that give a deeper insight in the literary aspects of Roee Rosen's oeuvre. A stowaway on the journey, Rosen playfully and with wonderful self-irony does not negate the complexity of the present, but takes it to the next level by exploring how all things are interlinked. Rosen neither doubts the complexity of our reality, nor does he oversimplify to a fault. Published by Sternberg Press and Kunstmuseum Luzern.
Milk as a biocultural substance. In the context of INLAND's Academy at documenta fifteen, Microbiopolitics of Milk presents the grounding basis for a research project around Milk as a biocultural substance, through its implications in the regimes of contemporary biopolitics, economics, and representation. Featuring texts by Heather Paxson, Esther Leslie & Melanie Jackson, Harry G. West, Vinciane Despret, Chris Fite-Wassilak and Richie Nimmo, reflecting the different dimensions of milk in a variety of research fields. ContributorsVinciane Despret, Chris Fite-Wassilak, Fernando GarcÃa-Dory, Melanie Jackson, Esther Leslie, Richie Nimmo, Heather Paxson, Harry G. West Copublished by INLAND-Campo Adentro and documenta fifteen
On the themes found in the work of Lorraine O'Grady: Black female subjectivity, intersectional feminism, institutional critique, music, and translation. Is Now the Time for Joyous Rage? is the fourth book in the annual series A Series of Open Questions published by CCA Wattis Institute for Contemporary Arts and Sternberg Press. This fourth issue is informed by themes found in the work of Lorraine O'Grady, including diaspora, Black female subjectivity, racial hybridity, translation, intersectional feminism, institutional critique, Black representation in the art world, archives, music, Conceptualism, and performance art. ContributorsSelam Bekele, Martin Bernal, Camille Chedda, Gabrielle Civil, Kathleen Collins, Erica Deeman, Jeanne Finley, Jacqueline Francis, Ãdouard Glissant, Rujeko Hockley, Bec Imrich, E. Jane, Charles Lee, Darrell M. Mcneill, Denise Murrell, John Muse, Sawako Nakayasu, Lorraine O'Grady, Yétúndé Olagbaju, Hsu Peng, Lara Putnam, Trina Michelle Robinson, Legacy Russell, David Scott, Peter Simensky, Maud Sulter, Carrie Mae Weems, Judith Wilson, Alisha B. Wormsley, Allison Yasukawa Published by CCA Wattis Institute for Contemporary Arts and Sternberg Press
The first book-length inquiry into the twisted romantic ballad, giving a sense of both its history and contemporary currency. Titled after Soft Cell's version of the original 1965 Gloria Jones track, Tainted Love is the first book-length inquiry into the subject of the twisted romantic ballad, giving a sense of both its history and contemporary currency. Sometimes extreme, this twist to the conventional romantic ballad spans across gender and generational boundaries to subvert our understanding of both the genre's function and its behavior. Each chapter of Tainted Love takes a deep dive into a single twisted ballad, examining both its inner workings--lyrics, melody, and vocal approach--and its broader cultural resonance. Featuring an analysis of songs by Kendrick Lamar, Nina Simone, Roxy Music, Joni Mitchell, The Velvet Underground, Frank Sinatra, Soft Cell, Paul McCartney, Charlotte & Serge Gainsbourg, PJ Harvey & Nick Cave, and Little Simz, this book turns on the question: What compels songwriters to compose--and us to listen to--these warped songs?
The adventures of a French art student as she visits New York to work as an assistant for an established artist. While studying at the Fine Arts School in Paris in 2013 and having to complete an internship abroad, Mathilde Supe, a 24-year-old student, contacted Keren Cytter to be her assistant. The latter, who had just left Berlin for New York, accepted the offer. Supe embarked on a journey to New York City, where she had never set foot, barely speaking English, without a work permit, and without contacts. From this incredible adventure, she transcribed every detail of hardship and learning in a book that took the form of a logbook and followed the evolution of one young artist's view of another established artist. Through experimental modes of storytelling and perception, Keren Cytter's work deals with social alienation, the representation of language, and the function of individuals in cultural systems. She is primarily a filmmaker, yet her work includes performances, plays, sculptures, drawings, novels, zines, children's books, and interdisciplinary festivals. Keren Cytter Does Not Like To Share is published on the occasion of Cytter's solo presentation "Bad Words" at the Ludwig Forum Aachen (June 25-September 25, 2022). Copublished with Ludwig Forum für International Kunst Aachen
A collection of Dan Graham's interviews and conversations with a wide array of individuals from various backgrounds and disciplines. Dan Graham: Some Rockin' is a compilation of fifteen interviews (two of them previously unpublished) between Dan Graham and artist friends, architects, musicians, art critics, and curators from various parts of our world. In these interviews Graham's intense interest in and observation of cultural phenomena such as rock music, urbanism, architecture, corporate culture, and art world politics and their historical development overlaps and interferes with the articulated interest of the interviewers in Graham's art, sense of humor, attitude, and point of view in regard of a huge variety of topics. Two essays, besides the "Introduction," are added to this compilation: the essay "The Museum in Evolution" by Dan Graham, and an essay by the editor, Gregor Stemmrich, on the development and far reaching implications of Graham's art.
A techno-fiction novel on the uneasy desire for anti-rationalist ideas on the internet. Taking off along the grotesque evolutionary curve of the internet, this novel by Mochu brings together Japanese otaku subcultures, Hindu mythology, darknet highways, ultraviolent cyberpunk forums, and renegade university departments to forge a transnational narrative that trips through the incompatible fantasies of rationality and civilization, with wormholes through ancient tales, recent cinema, plain-wrong art histories, and pirated philosophical reflections. The novel opens with a case of abduction in India. The operations of a far-right publishing house are interrupted by extraterrestrial influences with political intent. The attack on a science-fiction writer at a beach in Goa seems connected to a bot-propelled puzzle revolving around the defacement of Medieval temple relics elsewhere. A detective specialized in interstellar sociology finds clues that point to a transgalactic anarchist group with ties to online Posadist forums, while Eurasian political theory circulates as noise-objects in Goa's beachside clubs. Meanwhile, occultist explorers in the sci-fi writer's story find that the legendary homeland for Hinduism in the Arctic has become infested by "Gradients of Hegelian Unhappiness" by way of an invasive subzero entity buried in deep snow. The detective's investigations eventually turn metaphysical, settling on impossible solutions spanning the far reaches of outer space. Reactionary behavior on the internet, having spawned numerous retroactive origin stories for itself, takes on a tentacular presence across diverse political spectrums, time periods, and cultural contexts, giving the impression of a vast and tangled entity with distributed intelligence. Fatally fused by a common hatred for the legacies of the Enlightenment, popular manifestations go by terms like "alt-right" and "neo-reaction," powered by nerdy forums and blog posts across the web. Stationing conspiracy theory itself as the central form of thinking, acting, and concept-making in the twenty-first century, Bezoar Delinqxenz is a mixtape simulation of these entanglements at the borderlands of fiction, insanity, and political emancipation.
A journey through sound, memory, and landscapes, questioning the origins, perception, and cultural implications of music. A lifelong relation to sound and music underlies Latifa Echakhch's work. On the occasion of her representation of the Swiss Pavilion for the 59th Venice Biennale, she has edited a volume on sound, memory, and perception. In the book, images of her installation in the Swiss Pavilion, The Concert, accompany her own writings along with this by Alexandre Babel and Francesco Stocchi, the co-curators of the pavilion. The volume also includes interviews with and collected texts by François J. Bonnet, Emanuele Quinz, Maxime Guitton, Alvin Curran, Salomé Voegelin, Antoine Chessex, Jonathan Sterne, Juliette Volcler, and Raphaël Brunner. Confronting knowledge, reflection, and intuition, their combined concert of thoughts confirms how sound and music--and their absence--play a crucial role in our physical and cultural perception of the world, and how they allow us to expand our bodily and cognitive experience. This book is one of the three parts of the Swiss Pavilion; the other two are the installation and a vinyl edition of the piece composed by Alexandre Babel.
The most significant critical, theoretical, and art historical texts by the artist, writer, and filmmaker Aria Dean. Compiled here for the first time, the selected writings of Aria Dean (b. 1993, Los Angeles) mount a trenchant critique of representational systems. A visual artist and filmmaker, Dean has also emerged as one of the leading critical voices of her generation through a body of writing that maps the forces of aesthetic theory, image regimes, and visibility onto questions of race and power. Dean's work across media has long been defined by what she calls a "fixation on the subject and its borders," and the texts collected here filter that inquiry through digital networks, art history, and Black radical thought. Equally at home discussing artists who embrace difficulty--from Robert Morris to David Hammons, Lorna Simpson, and Ulysses Jenkins--and conceptual frameworks such as Afropessimism, Dean often contends with how theoretical positions brush against the grain of lived reality: how the Structuralism handed down from the academy, for instance, can be commingled with critiques of structural racism, or how Georges Bataille's notion of base matter transforms through an encounter with Blackness. Dean's thinking embraces a definition of "Black art that luxuriates in its outside-the-world-ness," as she writes in this volume, which works to elucidate "Blackness's proclivity for making and unmaking its own rules as it produces objects" of cultural necessity. Originally published in November--of which Dean is a founding editor--as well as in Texte zur Kunst, e-flux journal, and in exhibition contexts, the essays compiled in Bad Infinity were written over a six-year span that charts our rapidly evolving forms of subjectivity and sociality.
Textual and visual ephemera along with performative documents stemming from a reading of Mary Shelley's 1826 novel The Last Man. Sibyl's Mouths is the most recent in a series of publications by Pure Fiction, a writing and performance group with shifting members active since 2011. From February 12 to March 6, 2022, Pure Fiction presented an exhibition and performance program at the Kölnischer Kunstverein in Cologne titled "Shifting Theater: Sibyl's Mouths." The starting point was a collective reading of Mary Shelley's 1826 novel The Last Man, in which the narrator discovers a collection of scribbled oak leaves scattered in a cave outside Naples. Alleged prophecies of the Cumean Sibyl, the textual fragments inscribed on the leaves foretell the story of an epidemic that ravages the globe in the 2100s--a period where solitude, intimacy, and the perception of time is radically renegotiated. Through a multiplicity of textual genres and writerly approaches, contributors will examine the questions and forms that emerge from prophecy: the role of the voice in text, writing, and performance; fragmentary heterogeneous narratives. The mouth is consulted, not only as a mouthpiece or as a cavernous instrument for vocalization but as an essential part of the digestive tract. Processes in the gut, such as assimilation, excretion, and regurgitation involve multiple temporal directionalities, and may function as metaphorical gateways to intuitive truths. ContributorsRosa Aiello, Gerry Bibby, Coleman Collins, Ayanna Dozier, Annie Ernaux, Amelia Groom, Michèle Graf & Selina Grüter, Monilola Olayemi Ilupeju, Ellen Yeon Kim, Bitsy Knox, Dan Kwon, Erika Landström, Enad Marouf, Katrin Mayer, Aislinn Mcnamara, Kamila & Jasmina Metwaly, Luzie Meyer, Vera Palme, Theresa Patzschke, Georgia Sagri, Mahsa Saloor, Elif Saydam, Mark Von Schlegell, Simon Speiser, Elaine Tam, C.S. Tolan, Mikhail Wassmer, Anna Zacharoff
How our experience of presence, time, and history is articulated in contemporary artistic practices. Our present is defined by contemporaneity: the interconnection of heterogeneous times, histories, and temporalities. These many and various times do not merely exist in parallel with one another, simultaneously. Rather, they interconnect and are brought to bear on the same present, forming a sort of planetary present, and--at least in principle--a global sharing of time, although one not shared equally. In The Changing Constitution of the Present: Essays on the Work of Art in Times of Contemporaneity, Jacob Lund explores how the conditions for politically engaged art and aesthetic practice, for questioning the present, have changed in recent decades, while considering how our historical present and its temporal quality differ significantly from previous presents.
A South Korean wellness center designed as a mock prison: on sensory deprivation, monastic life, the wellness industry, the prison-industrial complex, and the history of solitude. Solitary is a collection of texts written at a wellness center in South Korea designed as a mock prison. This facility is run by an organization called Happitory--a combination of "Happiness" and "Factory." Happitory offers retreats for teenagers, company employees, government officials, and the general public. Some sessions involve drama therapy, others are led by Buddhist monks. Most intriguing is a program called "Solitary Confinement," where one can spend twenty-four hours of technology-free time locked in an individual cell. To create Solitary, artist Tyler Coburn commissioned ten practitioners (including himself) to spend time in solitary confinement at this wellness center, where they produced texts using the materials on hand. Certain questions drove their writing. How does one square the relaxation promised by Happitory with the way solitary confinement functions in actual prisons? What types of thinking and writing become possible through its restrictions--no book, no Internet, just writing materials? How might the emphasis on writing relate to texts by Oscar Wilde, Antonio Gramsci, Kim Dae-jung, Shin Young-bok, and others produced during periods of imprisonment?Taken as a whole, Solitary is unique in being both a collection of texts and a collective artwork: an experiment in site-specific writing. Contributors Jaeyeon Chung, Tyler Coburn, Sunjin Kim, Hyunjeung Kim, Kyungmook Kim, Min Kyoung Lee, Woochang Lee, Russell Mason, InYoung Yeo, Jiwon Yu
A hybrid monograph/artist book of Nathalie Du Pasquier's work. Published on the occasion of Nathalie Du Pasquier's solo show at MACRO (Museum of Contemporary Art of Rome), which will travel to the MRAC (Musée Régional d'Art Contemporain Occitanie/Pyrénées-Méditerranée), this book navigates the space between an exhibition catalogue and the artist book with juxtapositions of photographs of Nathalie Du Pasquier's works, installation views of the show at MACRO, and extracts from texts by various writers and figures fundamental for her practice. These come together to create an extension of the exhibition itself, in a form that channels the spirit of the show: the pages become exhibition spaces embracing associations and combinations allowing for a deeper understanding and exploration of Du Pasquier's work, and her imagination at large. RO-Sà offers a glimpse into the possibilities offered by Du Pasquier's oeuvre, which can be approached, interpreted, and experienced from countless perspectives. It is the very vastness and variety of her work, and her inspirations, that make its exploration--and as a result, this publication--nonexhaustive. This publication is part of an ongoing study of her career and documents her exhibition at MACRO, "Campo di Marte," Du Pasquier's biggest show to date which brought together over one hundred paintings, sculptures, drawings, prints, and cabins, from the early 1980s to present day.
The use of art and architecture to develop practical solutions to economic and ecological crises. What if art holds the solution to the unfolding ecological and economic crises of our time? For more than forty-five years, Peter Fend has argued that art premonitions material culture, therefore the means of production, ensuing changes in social relations. Hence, in his view, works by Marcel Duchamp, Carolee Schneemann, Mary Beth Edelson, Paul Sharits, and others, can prefigure ecological restoration and cohabitation. In the late 1970s, artists in New York initiated teams--first Colab, The Offices, and later Ocean Earth and Space Force--to move from critique into effecting real-world change. Initiatives came from Jenny Holzer, Coleen Fitzgibbon, Taro Suzuki, Joan Waltemath, and Eve Vaterlaus, among others, who linked up with scientists to produce reports and analyses with satellite imagery for news media. Africa-Arctic Flyway: Physiocratic States gathers documents of Peter Fend's efforts through Ocean Earth for a planet organized according to hydrology--water basins--rather than national and colonial borders. It lays out tools and technologies derived from art, architecture, and science to replace fossil fuels, dams, nuclear industry, and industrial farming. The ensuing proposal for governance builds on what is identified as the first school of economic thought: physiocracy. Here, via satellite-aided eco-taxation, governance pursues an increase in the numbers of fish, marine mammals, migratory birds, and insects. For instance, ideas from Earth art are applied to restoring wetlands and flyways in three swaths--the Americas, East Asia, and Eurafrica--converging on the Arctic. This book focuses on the Eurafrica flyway and surveys four decades of work. It asks, "How do we go from visual art to reality?" Fend answers: "Through architecture."
Art critical essays focusing on artworks that, in various ways, convey a sense of unheroic "trouble." The undead of contemporary painting, avant-garde populism, photography courting stupidity, fraught networking, synthetic atmospheres, displaced abstractions, and the mediation of pain: these are among the subjects treated in this collection of essays by art historian and critic Ina Blom. Written over the past twenty years and drawing on Blom's familiarity with the contemporary art scene as well as the archives of twentieth-century avant-garde art, these texts share a pull towards artistic projects that are not redemptive or exemplary but that rather convey a sense of--often unheroic--trouble. Leaning into ambivalence as a methodology of criticism, Blom takes a particular interest in the detours, doubts, and difficulties that run alongside avant-garde art's more constructively hopeful desires for transformative innovation and change.
A training manual of practical and experimental exercises to reclaim the means of production of the future. Training for the Future is a training camp where audiences are turned into trainees to pre-enact alternative scenarios of the future to reclaim the means of production for the future. This handbook gathers training manuals, interviews, and documentation of the various training camps that took place from 2018 to 2021.
A comprehensive overview of artist Kathrin Böhm's multifaceted, deeply collaborative, and durational practice and networks. This volume critically profiles, contextualizes, and theoretically elaborates the unique practice of the UK-based German artist Kathrin Böhm. Combining visual and textual material, it offers an overview of Böhm's exceptional modus operandi that is rooted in a highly original artistic synthesis of a range of practices. Over the last three decades, Böhm has expanded the terms of socially engaged ways of working to an unprecedented scale and breadth by producing complex organizational, spatial, visual, and economic forms. These often entail the production of complex infrastructures, manifested via projects such as Culture is a Verb (2018-21), The Centre for Plausible Economies (2018-ongoing), Company: Movements, Deals and Drinks (2014-ongoing) and the Eco-Nomadic School (2010-ongoing). The book follows a major mid-career exhibition at The Showroom, London, in 2021. Offering a significant addition to debates on contemporary art and architecture, social action, and public culture, Kathrin Böhm: Art on the Scale of Life brings together critical reflections by internationally acclaimed contributors. Spanning a wide range of critical positions and disciplines, these include Dave Beech, Céline Condorelli, Elvira Dyangani Ose, Wapke Feenstra, Katherine Gibson, Joon-Lynn Goh, Lily Hall, Yolande Zola Zoli van der Heide, Grace Ndiritu, Gerrie van Noord, Paul O'Neill, Doina Petrescu, Gregory Sholette and THEMM!!, Kuba Szreder, Gavin Wade, Mick Wilson, Stephen Wright, and Franciska Zólyom. In addition, material derived from Böhm's international networks and projects provides an in-depth impression of the deeply ingrained collaborative and durational nature of her way of working. Photographic, diagrammatic, and typographical imagery runs through the book, demonstrating the rich visual and spatial languages embedded in Böhm's work. This visual register of the book is therefore much more than a series of illustrations and acts as a counterpoint to, and extension of, the ideas elaborated in the texts. Copublished by HDK-Valand; PUBLICS; The Showroom
An examination of the introduction of a non-human actor into the field of intersubjectivity. Our most intimate spaces are increasingly sites of intersubjective relations. The widespread presence of technological networks in particular has made visible the ways in which agency and subjectivity are often distributed, engendering theories of hybrid subjects who might integrate the human with other biological or technological agents. These incursions into traditional notions of subjectivity not only destabilize our sense of autonomy but also explode the human sensorium, reminding us that it is only one of many viable systems for sensing, perceiving, and communicating. Relative Intimacies collects essays, conversations, and artworks to explore how technology now mediates our encounters and, in doing so, forms alternate, networked subjectivities. It asks how intersubjective intimacy might be theorized epistemologically, aesthetically, philosophically, and politically, and considers how such relative intimacy might connect physical matter and cybernetic systems or forge new subjectivities between constellations of actors. Bringing together academic, curatorial, and artistic perspectives, Relative Intimacies initiates points of contact between artificial, biological, and emotional intelligence. ContributorsCecilia Bengolea, Dora Budor, Lou Cantor, Constant Dullaart, Hal Foster, Kevin Gotkin, Camille Henrot, Sun-Ha Hong, Tobias Kaspar, Devin Kenny, Agnieszka Kurant, Lynn Hershman Leeson, John Miller, Frederick Cruz Nowell, X Zhu-Nowell, Samantha Ozer, Aleksandra Przegalinska, Farid Rakun, Tiana Reid, Patrick Urs Riechert, Isabel de Sena, Jenna Sutela, Elena Vogman, Emily Watlington
How urban spaces are finding new life through communities of gardeners, cooks, ceramicists, and creatives. "Rochester Square is an oasis between the trundling traffic of Camden Road and busy York Way that welcomes people of all ages, at all hours and in all weathers, to be together to grow and make things. The three animating words--clay, food, and garden--summon the organism that Francesca Anfossi and Eric Wragge have fostered. The square has become a nest of creativity that extends an invitation to dwell, make, and be happy. In this book, you will find excellently unusual ways of preparing food, examples of many of the wondrous things made and the thoughts and passionate solidarity of neighbours and friends."--Antony Gormley ContributorsFrancesca Anfossi, Francesca Astesani, Louise Chignac, Chris Fite-Wassilak, Emily King, photographs by Marta Fernà ndez, illustrations by Polly Farquharson
A richly illustrated volume on the influential textile art of Elisabeth Haarr. For over fifty years Elisabeth Haarr has been one of the most significant artists in Norway. From her early experimentation with tapestry as modern visual art in the 1960s to political works with an activist message in the 1970s, and her later sculptural installations of rugs, banners, figures, and drapes, Haarr's oeuvre has significantly contributed to the consideration of textiles as a material in contemporary art. Today, her work continues to address topics such as feminism, anti-fascism, and environmental protection, and is as relevant as it was forty years ago. Elisabeth Haarr accompanies a monographic presentation by the artist at Bergen Kunsthall. Surprisingly, this is the first extensive career survey of Haarr's work, with the exception of a two-person survey with Hannah Ryggen in 2008. This book aims to provide entry points into Elisabeth Haarr's ongoing practice and is illustrated with a wide-ranging selection of works from throughout her career, as well as new works produced for the exhibition in Bergen. Iconic photos of Haarr's work show banners or other textile pieces hanging in the open, outside of the exhibition space like a flag, or in her garden blowing in the wind. The works are documented with additional material, such as research references and sources of inspiration, as well as images made by the artist during her working process to share her progress with collaborators and friends. These images often show the artist's personal milieu, such as her studio and the garden of her house in Kristiansand. This richly illustrated publication includes new texts by artist Are Blytt, curator Elisabeth Byre, poet, playwright, and novelist Cecilie Løveid, and curator Steinar Sekkingstad, and a conversation between Elisabeth Haarr and artist Eline Mugaas.
Following the "emerging life adventures and experiences" of Sophia, a robot animated by blockchain and AI, to present a study in temporal automation. In what way do the two technologies of blockchain and artificial intelligence actualize and, crucially, automatize the cognition of time? These kinds of machines are increasingly part of both our contemporary present and our prospective future, but how do we really define a present and a future? And more important, how do these machines themselves understand, know, and sense time? Can machines really think about the present and dream the future in an autonomous way? In order to unravel these questions, Whose Time Is It? follows the "emerging life adventures and experiences" of Sophia, a robot animated by blockchain and AI, to present a study in temporal automation.
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