EMILY   NOLA



Emily Nola (she/they) is a curator, writer, and researcher based in the Hudson Valley, New York. Working in research-based and cross-disciplinary methodologies, her work is interested in technology, mediation, and contemporary culture. She is deeply invested in alternative pedagogical strategies and collective practices.


CV  bio 
instagram ↗  are.na ↗   substack ↗  emilylnola@gmail.com ↗





    SELECTED WORK

    PROJECT     TYPEYEAR
25

ASSUME FORM

EXHIBITION

2026
23

IN CONVERSATION WITH 0RPHAN DRIFT

WRITING, INTERVIEW

2026
22

SPEED POLITICS

PROGRAM

2026
21

ASSUME FORM READING GROUP

PROGRAM, RESEARCH

2026
20

THE LIVENESS OF THINGS

PROGRAM

2026
17

NOTES FROM OBLIVION

EXHIBITION

2025
19

ON BECOMING WATER AND WATER

EXHIBITION

2025
18

BIRDSONG BLUES

PROGRAM, PERFORMANCE

2025
15

WHILE YOU WERE OUT

EXHIBITION

2025
9

A HAUNTED HOUSE

EXHIBITION

2024


     SORT INDEX BY
TYPEYEAR
EXHIBITION

PERFORMANCE

RESEARCH


PROGRAM

WRITING

PUBLICATION


2026

2024

2022


2025

2023

OLDER



          




THIS SITE WAS LAST UPDATED ON 06.14.26


25    ASSUME FORM

TYPE: EXHIBITION

2026

25.1
25.2
25.3
25.4
25.5
25.6
25.7
25.8
25.9
25.10
25.11
25.12
25.13
25.14
25.15
25.16
25.17

Assume Form
Cybernetic Culture Research Unit, Lendl Barcelos, Oneohtrix Point Never, 0rphan Drift
Hessel Museum of Art at Bard College
April 4 – May 24, 2026

In 1995, the Cybernetic Culture Research Unit (CCRU) was formed at the University of Warwick in England. Initiated within the Department of Philosophy by theorist and research fellow Sadie Plant, the unit produced a collectively authored body of work that straddled theory and fiction. The collective and its collaborators operated on the fringes of academia, drawing on a wide range of influences including continental philosophy, science fiction, and electronic music. Moving across forms both native and unique to the philosophical discipline including essays, zines, performances, and events, their work attempted to expand the limits of theoretical production. At the advent of the World Wide Web, amidst a present and future unsettled by emergent technologies, they turned to the speculative to interpret these new terrains.

A wide range of figures emerge from the CCRU’s annals. It is this mixed legacy of various influential, maligned, and underexplored practices that led to the uneven dissemination of the milieu’s output via the very platform they grappled with: the internet. There, their legacy is distorted, co-opted by obscure online political sects and Silicon Valley accelerationists.

Assume Form attempts to reconstruct what alchemized within the unit. Via the various influences and practices that entered their orbit, it reimagines this defining chapter of technological and cultural history. The exhibition frames the CCRU as the crystallization of its historical moment, tracking the landscape in which they operated from 1994 until the turn of the millennium. Taking cues from the same sources as the group——the landscapes, texts, sounds, and events that informed them and them——it creates the imagined space in which the ongoing resonances of this highly influential group begin assuming form.