upcoming & recent events



3/2-3    “You May Not Be Interested in Cyberwar. Marxist Theory and Digital Conflict” (with Nick Dyer-Witheford) – 12th International Conference on Cyber Warfare and Security, Wright State University & the Center for Cyberspace Research, Air Force Institute of Technology, Dayton, Ohio, USA

3/4    “Mutant War in the Networked World” – The Ukrainian Institute of Modern Art, Chicago, USA


research trips

August 21 – November 27, 2016  |  Ukraine & Georgia


The chilling beauty of the Cold War architecture: “Chernobyl 2” – the Soviet radar system DUGA aka “the Russian Woodpecker” (1976-1989). October 1, 2016


Photos by Anna Dolidze, Margret Grebowicz, Valentina Semenikhina, the Center for Urban History and myself.



Interviewed 95-year-old pioneer of the Soviet computer technologies Boris Malinovsky in the Museum of Cybernetics, Kyiv. September 29, 2016



Interpassive User: Complicity and the Returns of Cybernetics – Fibreculture Journal 25 (2015)

The essay explores the notions of “extension” and “prosthesis” as two different logics of being with technology. I trace the distinction between them to the work of McLuhan influenced by both Norbert Wiener and Buckminster Fuller. I argue that the logic of softwarization (Manovich, 2013) is similar to the logic of extension; while the logic of appification (IDC, 2010) is similar to that of prosthesis. The former is the logic of metonymy, while the latter is the logic of metaphor. I explain why such distinction is useful for reading mobile / social apps and the new practices they enable. I conclude by raising the questions about users’ enthusiasm and complicity within the bio-technological cybernetic assemblage.

Cinema for A Missing People: Gilles Deleuze’s Crystal Image and Alexander Dovzhenko’s Zvenyhora – Harvard Ukrainian Studies 32-33, no. 1-4 (2015)

The essay discusses Dovzhenko’s 1928 film Zvenyhora, which Deleuze uses in a second book of Cinema to illustrate his notion of the crystal-image of time, the only film made before the WW2 among many examples of the time-image that Deleuze generously offers in this volume. I also read Zvenyhora as an instance of minor cinema, with all the potential of the minor attributed to it by Deleuze and Guattari in their work Kafka: Toward a Minor Literature and others text written separately and together.