Credo

punctum books seeks to pierce and disturb the wednesdayish, business-as-usual protocols of both the generic university studium and its individual cells or holding tanks. We solicit and pimp quixotic, sagely mad engagements with textual thought-bodies. This is a space for the imp-orphans of your thought and pen, an ale-serving church for little vagabonds.

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Making a geologic turn, we create an opportunity to recalibrate infrastructures, communities, and imaginations to a new scale-the scale of deep time, force, and materiality. This would require us to assemble responsively with the non-human scale of geo-forces in play on this planet.

- Elizabeth Ellsworth + Jamie Kruse, from "Making the Geologic Now"

What light does aesthetics as a branch of thought, and art as a creative practice, shed on the (possible) end(s) of the world? What if we consider the end of the world as the finished product of aesthetic modernity? The blue ruin of earth is the total work of art at the end of history. The earth will be buried at sea.

- McKenzie Wark, from "Leper Creativity: Cyclonopedia Symposium"

Art, like life and cruelty, is a process, which is already hidden in the relationships between objects. What does it mean to sample data, not of finished artworks, but of noise itself, the environment?

- Andreas Burckhardt, from "A Sanctuary of Sounds"

Hoarders do affirm the existence of a material agency at work. They repeatedly say that “things just took over,” got out of hand, and “overwhelmed” them; they experience the hoard as having its own momentum or drive to persist and grow; they offer rich and impassioned descriptions of the insistent allure of objects.

- Jane Bennett, from "Animal, Vegetable, Mineral"

But hush, this male body is slowly stirring, turning over, progressively regaining consciousness … the need for mastery steadily clenching ‘its’ grip. This slow turn reveals his many sides, angular, hairy, robust, smelly, warm, delicate, graceful.

- Jean-Paul Martinon, "The End of Man"

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