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Activists and artists identified the machine in its literal and metaphorical terms as a critical (art)ifact. Computers, drones, and databases institute an art of the state, an infrastructural assemblage that structures the bounds of the sensible and governs the production of knowledge. But the technoaesthetics of the cybernetic border are not only available to those with access to the classification regime. A wider range of users makes sense of its maneuvers. Activists and artists draw on technoaesthetics to examine conceptual and political meanings—its ordering of the senses, its normalization of relations of enmity, and the organization of the borderlands as a data-filled environment to govern. To transform existing political conditions, these actors identify, study, and test the human-machine configurations that make and enforce the border in the twenty-first century.

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