Tony Robert Cochran (b. 1987) is an X.

He primarily engages with the fields of art and film critique, philosophy (Kant, Sartre, Haraway), and novel making and analysis. His work examines and engages with fine art, general aesthetics, architecture, psychoanalysis, ontology, the (UK and US) prison-industrial complex, LGBTQIA experience(s), gay male pornography, migration/internationalism, the altermodern, post-catastrophic societal arrangements, feminism, the technophobia-technophilia spectrum and machines for making facts.

In 2018, he published, Prison As Power: Being & State Contra Negativity & Notion, a philosophical and ethnographic analysis and critique of incarceration, racism and prison-industrial complex.

He has engaged with contemporary artists, writers and designers from Paweł Kuczyński, M Lamar, Ruben Pang, Justin Sayre, Wojtek Więckowski, Bhanu Palem, Susie Hall, Timothy DuWhite and others via interview and published article format.

In 2020, he finished, and then decided to rewrite, Full Encounters With Infinite Nothingness, a cyber/dystopian queer speculative literary novel that engages with race, politics, oligarchy, personal and social collapse, two-state vector formalism, temporal dynamics and more.

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Cochran is especially interested in the seminal writings of Rosalind E. Krauss; (z) ‘negative spaces’ of Michael Heizer; the land-art movement, including Nancy Holt, Robert Smithson, James Turrell; the writings of Ferreira Gullar; the books of Octavia Butler, Ursula Le Guin, Alaistair Reynolds, Tsitsi Dangarembga; film; and cats. Ginger cats especially.

Dara (Lisa Loven Kongsli) in Anne Sofie Hartmann’s (2019) Giraffe via @Mubi