Dear friends,

Ride out the summer days with this year's summer book bundle. This bundle includes some of e-flux's hottest titles: Mary Walling Blackburn's Cream Psychosis, Yuk Hui's Art and Cosmotechnics, and the latest issue of e-flux's quarterly publication, e-flux Index #9. Typically priced at 82 USD, all three of these titles can be yours for 62 USD.

Cream Psychosis (2026) features essays written by the artist Mary Walling Blackburn between the 2010s and the present, moving with near-psychedelic precision across American time and its surrounding spaces. It begins near the annals of the Arkansas Lunatic Asylum, March 1883. Conspiring sugar planters, descendants of missionaries, overthrow indigenous Hawaii in 1895. A child learns how to split screens: hard core film, documentary, destruction, and queer care in 1970s Times Square and in SROs in 1980s Salt Lake City. In 2020, protestors meet BORTAC-trained soldiers under skies choked with noxious propellants. Facing a spiraling empire, Blackburn insists on showing volumes of teeming, vibrant life. The essays and works collected here are movies of America in parallax view.

In light of current discourses on AI and robotics, what do the various experiences of art contribute to the rethinking of technology today? In Art and Cosmotechnics (2021), Yuk Hui addresses the challenge of technology to the existence of art and traditional thought, especially in light of current discourses on artificial intelligence and robotics. Thinking art and cosmotechnics together is an attempt to look into the varieties of experiences of art and to ask what these experiences might contribute to the rethinking of technology today.

e-flux Index is a quarterly print publication that sets out to untangle the mess of the contemporary. Index is unique for its remit, bringing together art and film theory, philosophy, architecture, and criticism under the same mantle. e-flux Index #9(June 2026) gathers 92 artists, writers, architects, poets, psychoanalysts, filmmakers, educators, and theorists to take stock of the relationship between art and theory today. How have these two practices informed one another? How and where is theory currently disseminated in the arts? Where has their relationship proved to be liberatory, and where has it become stultifying? And what illumination can either art or theory offer amidst the dark cluster of horrors that presently arrests our capacity to think lucidly?

Happy reading!