This text is a recount of exploring the algorithmic intricacies of hovering interactions on YouTube video thumbnails. The explorative debugging practice used offers a glimpse into the material implications of hovering, seeing it as a form of exploited labor. Each hover activates a convoluted set of instructions resulting in hardcoded values for what is considered productive and unproductive hovering.

The institutional archive as a vessel for historical Black British sonic histories is one of precarity, absence and loss. Its failures are the catalyst for communal gatherings and the expansion of alternative research activisms such as the DWN (Decolonising Wikipedia Network), collectively using Wikipedia to reframe and add to the database under the «lens of anti-racism and decoloniality.»

Figures of speech are a tongue’s gift to the excessive. Some languages rely on this gift enough to turn its usage into an addiction, speakers into addicts, and poetic metaphors into national history. Consider this: is it possible to argue against metaphors—or some other linguistic devices like analogies or similes—without resorting to the thing itself, in some shape? If we can’t stop shaping (and figurating) or stage-designing with words, there can be no incorrect way to formulate such figurations. This is an appeal to use it all gloriously wrong.

In this conversation, the editors of the journal issue «Imagination as a Site of Struggle» reflect on intersectional writing on art, media, and technology, thinking through ways of transgressing academic writing. Based on their respective backgrounds and practices, they discuss weaving together creative modes of critical knowledge production and engagement to look beyond the content of the writing to the practice of writing itself.

The question ‹Where are you from?› has typically linked whiteness to Europe and marked non-whites as perpetual outsiders. Black Local History along the Slash of the Im/Possible examines omissions and gaps in Swiss archives and historiography, as it relates to black lives, and calls for critical fabulations as a method and practice of redress, to re-imagine what was, as well as what could be.