Nina Strand, Editor-in-Chief: We have the same title for our issues in 2016: The Flexible Image. These issues will look at the current state of the (photographic) image, as it seems to expand into two distinct yet related manifestations: the image as text/sign versus the image as operation. Part I is about the image as operation: the image as touch, gesture and act. Whereas on the one hand, the image seems to work increasingly as a sign, emblematised by the emoji, on the other hand it is also increasingly being employed as a portal to various kinds of actions, typified by the on-screen icon. Thus the image can no longer be understood as an enclosed, representational entity that primarily addresses the faculty of vision. Rather, it works as an operating tool, addressing the full sensory capacity of the body, and touch in particular, thereby being entwined with the gesture. This is the kind of image that artist Harun Farocki has called “the operative image”: that is, “images that do not represent an object, but rather are part of an operation”. Featuring works by Ingrid Eggen, Phil Chang, Shimpei Takeda and Julien Prévieux.