Thomas Elsaesser traces Wim Wenders and Yohji Yamamoto's intertwined history through personal upheavals and national trauma to arrive, unexpectedly, at Weimar photography.
Laura Rascaroli on how the essay film's metahistorical nature, combined with the characteristics of post-modern space/time, produce a distinct treatment of the city as palimpsest.
Igor Krstić reflects on the first round of The Essay Film and the City" and opens the second by asking contributors to rethink the classic metaphor of the urban as palimpsest.
Matthew W. Wilson considers the technicity of maps and ‘quantified self-city-nation’ as a general theory for the technoscientific solutions we offer to confront socio-technical problems.
Sarah Barns argues that a platform urbanism should be more than a focus of academic critique, but also a site for radical appropriations of urban space.