D. Graham Burnett

“Chaos Bewitched: Moby-Dick and AI” (Eigil zu Tage-Ravn, pseud.)
Do androids dream of electric whales?
Public Domain Review, “Conjectures” series, 21 March 2023

“The Frye Trunk: Opening a ‘Pandora’s Box’ in the Archives of Attention” (with others)
Catalog of THE THIRD, MEANING, an exhibition at the Frye Art Museum in Seattle, October 2022 – October 2023.
Proceedings of the Esthetical Society for Transcendental and Applied Realization, New Series VIII, Supplement (2022).

“Portable Monstrance #21” (Yara Flores, pseud.)
The problem of framing what must center the attention.
In ELEVEN YEARS, edited by Nina Slejko Blom & Conny Blom (Bukovje: CAC Art Center, 2022)

“Kiss the Wing” (anonymous, with collaborators)
Avian marginalia as manicule (“the sage points to the moon, the fool looks at the finger…”).
Tank, vol. 10, issue 10 (winter 2022): 178-193

Paper Shrapnel” (Yara Flores, pseud.)
Carnival and violence.
Very, Vary, Veri 4: 7-8; 2020

The Museum Plans” (with David Richardson). Exhibition catalog prepared in conjunction with 2019 Fall Open House at Mana Contemporary. Supplement to the Proceedings of the Esthetical Society for Transcendental and Applied Realization, September 2019.

The Bird Bookmarks” (with Jessica Palinski). Exhibition catalog prepared in conjunction with 2019 Spring Open House at Mana Contemporary. Supplement to the Proceedings of the Esthetical Society for Transcendental and Applied Realization, April 2019.

The Hale Transcripts: Object Oriented Ventriloquy during the Cold War,” a reprint from the Proceedings of ESTAR(SER), and appearing in: Hybrid Practices: Art in Collaboration with Science and Technology in the Long 1960s, edited by David Cateforis, Steven Duval, and Shepherd Steiner (Berkeley: University of California Press, 2019).

Leftovers: I Was Opened” (Anonymous)
The revolution will not be aestheticized.
Cabinet, Issue 65: 84-91; Fall 2018

Spirit Duplication” (Yara Flores, pseud.)
Techniques of printing and the gods.
Reprinted in Ruth Pelizer-Montada, Perspectives on Contemporary Printmaking (Manchester: Manchester University Press, 2018)

Pilgrimage Amulet” (Yara Flores, pseud.)
An object for wayfinding.
in Navigation, edited by Hinrich Sachs et al. (Eindhoven: Onomatopee, 2018).

Three Theses on the Sublime
Further leaves from the commonplace book.
Take, Volume 3 Issue 1: 75; January – June 2017.

PRESENTING AND REPRESENTING THE ‘W-CACHE’: Problems of Selection, Access, and Documentation in Relation to the Material culture of the Order of the Third Bird” (with others).  Catalog of an exhibition in Los Angeles (at the Museum of Jurassic Technology) in September of 2016. Proceedings of the Esthetical Society for Transcendental and Applied Realization, New Series, Part 7, Supplement (2016).

Screen Capture” / “Bildschirmaufnahme
An experiment with artificial intelligence (and Camille Henrot)
Parkett 97: 132-147; 2016.

The Lyell Slip: Evidence of Bird Practices in the Social Circles of the Philoperisteron, London, ca. 1879” (Eigil zu Tage-Ravn, pseud.)
in Some Pigeons Are More Equal Than Others, edited by Eric Ellingsen, Julius van Bismarck, and Julian Charrière (Berlin: Lars Müller,  2015).

A Modest Proposal
Creative restraint and the American reader.
Documents of Uncertain Provenance, April 2014

“Blood, Language, and Voom” (Yara Flores, pseud.)
The second coming of the Cat in the Hat
Cabinet, Issue 52: 12-14; Winter 2013/14.

“The Death of Scheherazade: Fragments” (Yara Flores, pseud.)
Isaac Dinesen cannot save you…
Tribes, Issue 14: 36-39; 2013.

“The Last Rivet: Kant Meets Rockefeller” (Yara Flores, pseud.)
The sublime of fragility, the sublimity of synecdoche, the plastic sublime. On Sixth Avenue
in Hang onto Your Hot Lights: Conviction Rebranded, edited by Nick Paperone and Rory Parks (Portland, ME: Primetime, 2013).

“‘Dearest E.’: New Documents Relating to the Order of the Third Bird; Links between British & Parisian Activities in the 1870s (The ‘Facsicle of E.’)” (with J. Mullen and S. Randolph)
Publication of documents ostensibly bearing on the history of the Order of the Third Bird
RES: Anthropology & Aesthetics, Vol. 63/64, Wet/Dry, Spring/Autumn 2013.

“Leftovers / Cephalophoric Reason” (Eigil Zu Tage-Ravn, pseud.)
Bataille and flatworms? A brief counter-history of head carrying
Cabinet, Issue 49: 16-17; Spring 2013.

“Giving Back” (Yara Flores, pseud.)
Ask not what the tree can do for you
Cabinet, Issue 48: 75; Winter 2012/13.

“Regarding the pain of others?” (Dusty Keelson-Maar, pseud.)
Casanova glimpses a terrifying thing—actually, several
Cabinet, Issue 46: 78-79; Summer 2012.

“Inventory / To Do” (Molly Gottstauk, pseud.)
Scripting the self.
Cabinet, Issue 44: 12–13; Winter 2011/12.

“Colors / Umber” (Yara Flores, pseud.)
Only the shadow knows.
Cabinet, Issue 43: 9–11; Fall 2011.

“Notes toward a Concrete Criticism” (Yara Flores, pseud.)
The critic is also sitting in a room.
in Reception Rooms, edited by K. Collins et al. (Princeton: IHUM Books, 2011).

“The Clermont Connection: Evidences Bearing on Associationist Associations of the Order at Midcentury (The Robinson/Fairwright Correspondence)” (with Sal Randolph)
Publication of documents ostensibly bearing on the history of the Order of the Third Bird.
Proceedings of the Esthetical Society for Transcendental and Applied Realization, New Series: part 4; 2011.

“Artist Projects / Monument to Forgetting” (Eigil zu Tage-Ravn, pseud.)
One of a set of artist projects considering monuments to the act of forgetting.
Cabinet, Issue 42: 87–91; Summer 2011.

“Drain Pipes, Dream Pipes, Pipe Dreams” (Yara Flores, pseud.)
Ecclesiastical plumbing.
Cabinet, Issue 41: 79–81; Spring 2011.

“Dialectics of the Shmoo” (Yara Flores, pseud.)
On the lives and afterlives of Al Capp’s The Life and Times of the Shmoo.
Cabinet, Issue 40: 10–12; Winter 2010/11.
Reprinted in: Curiosity and Method: Ten Years of Cabinet Magazine (New York: Cabinet Books, 2012).

“Spirit Duplication”  (Yara Flores, pseud.)
A meditation on catechism, the ditto device, and the semiotics of technology.
Cabinet, Issue 39: 74–75; Fall 2010.
In 2011, Edit republished “Spirit Duplication” in German.

“Leftovers / The Art of Mechanical Reproductions” (Yara Flores, pseud.)
A visual project on the end of the book.
Cabinet, Issue 37: 20–21; Spring 2010.

“Ingestion / The Word Made Flesh” (Eigil Zu Tage-Ravn, pseud.)
Parafiction on the history of text eating.
Cabinet, Issue 36: 7–9; Winter 2009/10.

“Reading to the Endgame” (with W. J. Walter)
An experiment in ludic literary criticism built out of a computer-based work of conceptual art.
Cabinet, Issue 35: 40–44; Fall 2009.
In 2010, OEI republished “Reading to the Endgame” in Swedish.

“Plaice and Place” (Sanelma Nicht, pseud.)
Parafiction on the biogeography of flatfish. Part of a commissioned portfolio of artists’ projects and essays on “pla(i)ce” in the arts.
Cabinet, Issue 32: 45–46; Winter 2008/09.

“The Rational Hearth: Gauger, Descartes, and the Vestal Complex” (Frumento Combusti, pseud.)
An essay on Bachelard and 18th-century fireplace design.
Cabinet, Issue 32: 99-102; Winter 2008/2009.

“Four Leaves from a Commonplace Book”
A sequence of prose poems based on traditions of textual citation.
Cabinet, Issue 30: 47-49; Summer, 2008.

“The Edge of the C”
An essay on Paul Carter and the poetry of Wallace Stevens.
Southerly, Vol. 66(2): 27-35; Spring, 2006.

“And a Man Child”
A poem offered in completion/rejection of Stevens’ “Comedian as the Letter C.”
Southerly, Vol. 66(2): 35-39; Spring, 2006.

“Maycomb-Macdonnell, M.I. Return (1764–1818?)” (Frum O. Combist, pseud.)
The life of M.I. Return Maycomb-Macdonnell; a Montweazle, assigned by the editorial house.
The Dictionary of Nineteenth-Century British Scientists, vol. 3: K–Q (Chicago: University of Chicago Press, 2004), 1382–1388.