Jol Thomson is an artist based in Berlin working at an intersection of arts, science, and philosophy; in this sense, he considers himself a twenty-first-century ecologist. He focuses on, for example, the spectrum of time studies, communications theory and media history, posthumanism, cosmology, and quantum field theory. He is very interested in the languages and mentalities emerging out of the articulations of transversals and a collapse of dichotomies as might be articulated or called for by the likes of Karen Barad or Rosi Braidotti, among others. He has been developing and performing an alternative approach to arts pedagogy with artist and architect Tomás Saraceno, and geographers Sasha Engelmann and Alan Prohm at the Technical University of Braunschweig since October 2014. Their program extends a convivial, heuristic, and ecosophical approach to issues of the contemporary world as pronounced by the Anthropocene and Technosphere. He is currently collaborating on an episodic and distributed audiovisual-software project that investigates autopoiesis, machinic phyla, and transduction together with artist AEAEAEAE. In autumn 2016 he will take part in the Akademie Schloss Solitude artist-in-residence program near Stuttgart to focus on his creative interdisciplinary research between physics, climate science, and economics. Jol has a “Meisterschüler” in fine arts from Städelschule, Frankfurt am Main (2011–13) and a degree in philosophy, art history, and visual studies from the University of Toronto (2004–09). Exhibitions have included New Frankfurt International: Solid Signs at Nassauischer Kunstverein Wiesbaden (2015); Titan (a dark kairological framework) at the Museo d’Arte Contemporanea in Genova (2014); Ternary Schumann Resonance for the Dancefloor in Frankfurt, Berlin, Hanoi, and Saigon (2014); and Grotto Heavens at the Contemporary Art Centre in Vilnius (2014).