In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl’s landmark essays from recent years in which she has steadily developed her very own politics of the image.
Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings.
With Introduction by Franco “Bifo” Berardi
Edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
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Hito的文字非常有力地体现了她的“创作者-学者”双重身份：她的文字并不是学术写作，却能看出一些理论和思辨积累在里面，同时又比通常的学者要天马星空得多，有一种基于学术又远超学术的想象力和联想力，给人很多启发。
评分又印证了“但凡能者总是多劳”......她脑筋转得好快
评分作为一个essayist的长处对于theorist而言算作软肋，但Steyerl每篇文章都从现象出发并且提出明确的问题（或命题），实在比大多数理论的二道贩子强太多。
评分黑特·史德耶尔。14年购于Tate Modern.补标
评分又印证了“但凡能者总是多劳”......她脑筋转得好快
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