In the wake of the Anthropocene hypothesis–which, at least in part, contends that anthropogenic
tions are transforming previous geological compositions in literally fundamental ways–the intercalating of existing ‘stories’ and ‘official proclamations’ with transformative and erratic new layers seems of particular urgency.
–Anna Sophie Springer and Etienne Turpin, Land, Animal, Nonanimal, 2015
Sedimenta came to me as a part of another word broken between two lines, in a paragraph outlining a hypothesis, between definitions, between human and geologic histories.
Sedimenta is nothing right now but a collection of reading notes and disconnected ideas in Asana. By April, Sedimenta, edition 0, will be an online publication, most similar to an online journal, that will house three essays, four book and two exhibition reviews, a translated essay, and five to seven interviews. The analytical essays, separately, engage with individual artistic practices that observe and critically intervene under the shifting conditions of the Anthropocene. The book reviews, separately, discover new and exploratory voices in this discourse. The interviews, separately, highlight the voices of these agents. The essays, reviews, and interviews are not segregated into categories; rather, each of these, as case studies in different forms, thematically flow through the circumstances under which colonialism, capitalist economics, and petrol-imperialism occupy twenty-first century artistic practices.