From producing sterile goldfish to choreographing the factory assembly line, Revital Cohen and Tuur Van Balen's work could be thought of as situated-that is to say, it is performed within particular networks. These networks-whether connecting raw materials, mythic conditions, animal genetics, constructions of uncertainty, or colonial inheritances-form a point of departure from which to think of friction, entanglement, porousness, reflection, and self-implication. Not What I Meant But Anyway reveals the methods and processes behind Cohen and Van Balen's work and working, prioritizing long and multidimensional research and production over its eventual outcomes. Intermingling conversations between the artists on living and working together, their generated ephemera, and a series of external reflections, the book hints at the intimacies and estrangements inherent to their practice. With contributions from Daisy Hildyard, Andres Jaque, Lucia Pietroiusti, and Xiaoyu Weng.

The objects of architecture are not simply inert assemblies of material-they are complex entities that unfold their potential agencies (whether political, social, or environmental) in equally complex ways. Exploring these forms of architectural agency has in recent years been a central aspect of the work of Andres Jaque and the Office for Political Innovation, who, in addition to their built works, pursue a research practice through the many other media of architectural production. Their projects are reactive, intervening on what already exists to demonstrate how design, politics, and criticality operate across different scales and at the intersection of multiple realities. Jaque's performances, videos, and installations-and this book, which collects a range of recent research projects-bring new subjects into the fold of architecture, focusing on alternative actors, distributions of power and representation, and the sociocultural effects of architecture. These episodes address ideas like genetic manipulation, the necessary requeering of dequeered spaces of online interaction, and the selling of modern architectural comforts in order to subvert the field from within and to contest capitalism's flattening-out of public life. Rather than propose alternative-from-scratch futuristic or idealized realities, Jaque and the Office for Political Innovation claim that reality is produced at the intersection of things like porn, interior design, maintenance, and the territorial distribution of toxicity. Documenting a series of performances, research projects, installations, films, characters, and exhibitions, Superpowers of Scale demonstrates the breadth of architectural knowledge and its possible representations.