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100			_aEngelmann, Sasha _929930
245			_aOf spiders and simulations: artmachines at Studio Tomás Saraceno
300			_aVol 26, Issue 3, 2019: (305-322 p.)
520			_aThis article employs Anne Sauvagnargues’ writing on ‘artmachines’ to explore a series of experiments with spiders and simulations at Studio Tomás Saraceno. These experiments were the first to ‘capture’ or ‘image’ the black widow spider’s highly complex, three-dimensional web and to investigate its similarity to astrophysical simulations of the universe. To develop the artmachine for cultural geographies of art, and as a grammar for techno-aesthetic and multispecies artistic practices, the article approaches Studio Saraceno’s webbed experiments as artmachines, or ‘ecologies of images’. In doing so, the article addresses the role of haecceity and simulation to accentuate the many forms of image-making and becoming within and beyond the studio. This account amplifies affective relations between humans, spiders, and webs, relations that emerge before and beyond the gallery or the exhibition. Thinking with artmachines also manifests art’s alliances to technology without foreclosing its unique modes of individuation. For these reasons, artmachines may hold promise for cultural geographies of art, creative practice, and production.
650			_aart _929931
650			_aexperiment _929932
650			_amachine _929933
650			_aSaraceno _929934
650			_aspiders _929935
650			_asimulation _929936
773	0		_010528 _915377 _dSage publisher 2019 _tCultural geographies
856			_uhttps://doi.org/10.1177/1474474019838310
942			_2ddc _cART