The book celebrates a decade of the cult editorial platform’s outputs at the margins of art, music and digital culture, published by TLTRPreß with design by PWR Studio.

‘A blog, a Twitter spam account, a Facebook page, an Instagram profile, a sparsely-populated Discord server, a YouTube channel, and an undersubscribed Patreon that really just wanted to be a website. AQNB, and its forgettable sequence of letters, has a past that’s rooted in the 2010s “post-internet” era – a vague and dispersed art movement that most of its movers rejected before it ended at the 9th Berlin Biennale. Or, at least that’s the lore. The online publication wanted to produce smart and inclusive writing about interdisciplinary art on the internet that needed to be taken seriously.

‘The group of people that ran AQNB was small, but its influence was big, if obscure and indefinable, much like its mission statement as an “editorial platform committed to independent media”. That commitment extended only as far as it seemed impossible to monetise, or convince a funder it was worth funding. Its interest was “transmedial”, then “interdisciplinary.” Then it worked at the “intersection” of “art and technology”, which became “visual art, music, and critical thinking”, before the intersection was dropped altogether, having become an in-crowd cliché, like “hybrid”, “convergence”, or “queer”.’

— AQNB editor Steph Kretowicz, aka Jean Kay