Second issue of Madame Wang: Journal for Geo-Distributed Collaboration. Madame Wang is a journal dedicated to dispersed collaboration, migration and encounter architectures, co-action and post-human writing programmes. It has been formed in response to a mounting need to examine, engage and critique an emerging arts practice that is multiple, data intelligent and severally located. Madame Wang participates in the unfolding of critical and intuitive modes of production by working closely with artists and other disciplines to deliver texts. Group writing, recursive dialogue, critique and text-artworks are all part of the pallet of approaches to the subject. Through these means, we can properly test the propositions and strategies of distributed decision making and the possibilities of its rhetoric. The journal is not a passive commentator on this exciting field, but instead takes part in its possibilities through a programme of exhibitions and events. Madame Wang is at the heart of a complex of writer-agents whose opinions are derived directly from the researches and evidence of their own practice. The Journal is open to the disobedience of developing tactics of co-action. It aims to promote progressive as well as destabilised textual discussion. It will introduce differing voices within the field, and invite participation in this arena of activity. Madame Wang will invite greater involvement of its reader-writers through annual self assessment platforms, open calls and by developing exhibition opportunities for these complex work groups. Madame Wang supplements the human/individual with models that are more adapted to respond to the contemporary discoveries of neuroscience, behaviourism and symbiotic intelligence. These discoveries are continually inviting us to reconsider the representations that we have of human action and are providing new tools for thinking about our cultural field. The journal itself is produced in a variety of ways, mixing conventional practice with newer methods of working together that leave us with lasting reproducible models that can be executed by anyone anywhere. The lone artist as the super-experimental test-site of all that is human is no longer a viable model for arts production. Biological discoveries as well as technical developments are giving us an opportunity to reassess how the human is defined, and what can be achieved with these multiple and post-human approaches.