Andrew Culp is a media theorist and maker at the California Institute of the Arts. His writing has been published in a dozen languages, including the books Dark Deleuze and A Guerrilla Guide to Refusal. Machines in Flames was his debut documentary film.

Bryan Norton is a Mellon Postdoctoral Fellow in German at the Stanford Humanities Center. His research investigates how writers, filmmakers, and activists around the globe seek to address the Gordian knot of environmental crisis, postcolonial upheaval, and technological change. Norton is the co-editor (with Mark Hansen) of a forthcoming volume on Stiegler, Negentropic Orientations, and is completing his first solo monograph, Planetary Idealism: The Technics of Nature in German Romanticism (under contract with Stanford University Press). His recent writings can be found in SubStance, German Quarterly, Theory, Culture and Society, and Journal of Visual Culture.

Rebecca Turner studies contemporary film and media with an interest in post-cinema, immediacy, pornography, and war. Rebecca serves as co-chair of the Digital Aesthetics Workshop at the Stanford Humanities Center as well as co-chair of Stanford Cinematheque, a graduate student-led weekly screening series. Her writing has appeared in the Brooklyn Rail, Screen Slate, and Filmmaker Magazine, among other publications.

The Destructionist International is dedicated to the negative in all of its forms. It is driven by a shared inclination: a taste for the fury of destruction, away from the dull submission of situations to reasoned judgement. Its first work was the film Machines in Flames, in which media scholar Andrew Culp and cultural geographer Thomas Dekeyser retraced the footsteps of CLODO’s historic attacks on computer firms in the 1980s.