sternberg press new york (169 resultados)

Paperback. Condición: Very Good. 216 pp. Tightly bound. Spine not compromised. Text is free of markings. No ownership markings. Remainder mark on bottom fore-edge. Book still in original publisher shrink wrap.

Soft cover. Condición: Very Good. 110 pp. Tightly bound. Spine not compromised. Text is free of markings. No ownership markings. Remainder mark on top fore-edge. Book still in original publisher shrink wrap.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condición: new. Paperback. Alternative forms of curatorial and institutional work suitable to our novel conditions, when the relationship between physical and online work must be revised.Alternative forms of curatorial and institutional work suitable to our novel conditions, when the relationship between physical and online work must be revised.In our current era of global pandemic and violent political upheaval, the question must be asked- What is our future and whose voices will announce it? These can only be situated voices, each with its own body and space, formed through dialogue within their own communities and in reaction and resistance to dominant discourses. Museum director, curator, and writer Zdenka Badovinac argues that these situated voices of people, artworks, and exhibitions, rooted in the local, can bring incisive, productive change. The call of these voices, in rethinking art, curation, and institutions, is the subject of this powerful essay, the second volume of the series Thoughts on Curating, edited by Steven Henry Madoff. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. Painting has demonstrated remarkable perseverance in the expanding field of contemporary art and the surrounding ecology of media images. It appears, however, to have dispelled its own once-uncontested material basis- no longer confined to being synonymous with a flat picture plane hung on the wall, today, painting instead tends to emphasize the apparatus of its appearance and the conduits of its circulation. With contributions by Peter Geimer, Isabelle Graw, and Andre Rottmann, Thinking through Painting investigates painting's traits and reception in cultural and socioeconomic discourse.ContributorsPeter Geimer, Isabelle Graw, Andre RottmannInstitut f r Kunstkritik Series Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. How the world--and the world of visual culture in particular--creates itself in a creative act that knows no economic return.How the world-and the world of visual culture in particular-creates itself in a creative act that knows no economic return.How does the world form itself? How does it create itself as a world? And how do we understand the role of the visual in this regard? Most responses to these questions within cultural theory and visual culture refer to the rise of globalization, thus highlighting the acceleration of exchanges, the proliferation of information and communication devices, and the multiplication of globally circulated goods and images that characterize the world we live in. Visual Cultures as World Forming takes a different approach by focusing on the taking place of the world, a creative act that knows no economic return.This taking place does not lead to more proliferation of goods, additional financial exchanges, further communications, or an increase in the distribution of visual material, but leads to the continued "worlding" of the world. This approach is predominantly, but not exclusively, inspired by the work of Jean-Luc Nancy. Through a reading of his work and of some of his contemporaries both inside and outside of the Western canon, Madani and Martinon attempt to expose how the world-and the world of visual culture in particular-creates itself and the ways in which each one of us is embodying this creation without economy.Copublished with Goldsmiths, University of London Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. A hopeful meditation on how periods of inactivity become reimagined as fertile spaces for design and how we might use this strange moment in history.A hopeful meditation on how periods of inactivity become reimagined as fertile spaces for design and how we might use this strange moment in history."Hi, everyone. I'm speaking to you from my apartment in Oakland, though I've virtually placed myself in the rose garden nearby."Artist and writer Jenny Odell hadn't originally planned to deliver the Harvard University Graduate School of Design's 2020 Class Day Address from her living room. But on May 25, 2020, there was Jenny, framed by a rose garden in her Zoom background, speaking to an audience she could not see about the role of design in a suspended moment marked by uncertainty in a global pandemic. Odell's message, itself a timely reflection on observation, embraces the standstill and its potential to deepen and expand our individual and collective attention and sensitivity to time, place, and presence--in turn, perhaps, enabling us all, amid our "new" virtual contexts, to better connect with our natural and cultural environments.Odell unspools this hopeful meditation in Inhabiting the Negative Space, where periods of inactivity become reimagined not as wasted time but fertile spaces for a kind of design predicated less on relentless production and more on permitting a deeper, more careful look at what exactly is demanding or tapping our time and attention, and how we might use this strange moment in history to respond. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Soft cover. Condición: Very Good. 245 pp. Tightly bound. Spine not compromised. Text is free of markings. No ownership markings. Remainder mark bottom fore-edge.

Paperback. Condición: new. Paperback. Pennsylvania State Senator Nikil Saval tells the story of an unlikely partnership between June Jordan and R. Buckminster Fuller, and their attempt to reimagine Harlem in the wake of the 1964 riots.Pennsylvania State Senator Nikil Saval tells the story of an unlikely partnership between June Jordan and R. Buckminster Fuller, and their attempt to reimagine Harlem in the wake of the 1964 riots.In the tense days leading up to the 2020 American elections, then-candidate for Pennsylvania State Senate Nikil Saval addressed a virtual audience at the Harvard GSD to tell a story about Black feminist writer June Jordan and a little-known project that resulted from the aftermath of the 1964 Harlem riot. The events of police brutality and community grieving made a lasting impression on Jordan, who, while known for her work as a poet, playwright, and activist, responded with a proposal for a multiple-tower housing design. Through an unlikely partnership with R. Buckminster Fuller, Jordan's "Skyrise for Harlem" project offered a Futuristic vision for Harlem that argued for environmental redesign- "it is architecture, conceived of in its fullest meaning as the creation of environment, which may actually determine the pace, pattern, and quality of living experience."Jordan was not an architect in the conventional sense, Saval says. "But in the understanding of someone who sought to propose and build interventions in public space, she was." Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. A conversation about design, filmmaking, Afrofuturism, world-building, and other topics with Hannah Beachler, Academy-Award-winning production designer of Black Panther.A conversation about design, filmmaking, Afrofuturism, world-building, and other topics with Hannah Beachler, Academy-Award-winning production designer of Black Panther.Hannah Beachler is known as an award-winning production designer, but she tells an audience that she considers herself to be more of a story designer. As film stills and concept art from a few of those stories--Moonlight, Miles Ahead, Creed, Lemonade, and Black Panther--flash across a screen, Beachler engages in a meandering conversation with Jacqueline Stewart and Toni L. Griffin about set building and curation, urban design, location scouting, Afrofuturism, fictional histories, and Black feminist narratives, and illustrates her role- a designer behind on-screen tableaux that provide not only visual feasts of artistry and imagination, but also intimate spaces of emotion, humanity, and constructed memory. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. How machine and computer vision produces contemporary images.How machine and computer vision produces contemporary images.Although often considered to be a fault or a glitch in the system, the event of hallucination is central to the models of image production generated by artificial intelligence (AI). Through mining the latent space of computer vision, Trevor Paglen's series Adversarially Evolved Hallucinations (2017-ongoing) reveals this phantasmal and hallucinatory domain. In the conversation included in this volume, he discusses how we can think from within these opaque structures and, in turn, questions the frequently inflated claims made on behalf of automated image-production systems. In an accompanying essay, Anthony Downey explores the uncanny realm of algorithmically induced images and proposes that AI, through its generative modeling of the world, invariably estranges us from the present and the future. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. The internet does not exist. Maybe it did exist only a short time ago, but now it only remains as a blur, a cloud, a friend, a deadline, a redirect, or a 404. If it ever existed, we couldn't see it. Because it has no shape. It has no face, just this name that describes everything and nothing at the same time. Yet we are still trying to climb onboard, to get inside, to be part of the network, to get in on the language game, to show up on searches, to appear to exist. But we will never get inside of something that isn't there. All this time we've been bemoaning the death of any critical outside position, we should have taken a good look at information networks. Just try to get in. You can't. Networks are all edges, as Bruno Latour points out. We thought there were windows but actually they're mirrors. And in the meantime we are being faced with more and more-not just information, but the world itself.ContributorsJulian Assange, Franco "Bifo" Berardi, Benjamin Bratton, Diedrich Diederichsen, Keller Easterling, Rasmus Fleischer, Joana Hadjithomas and Khalil Joreige, Ursula K. Heise, Brian Kuan Wood, Bruno Latour, Geert Lovink, Patricia MacCormack, Metahaven, Gean Moreno, Hans Ulrich Obrist, Jon Rich, Hito Steyerle-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. The simultaneous emergence of the serial killer and the assembly line as expressions of the rationality of modern production methods.The simultaneous emergence of the serial killer and the assembly line as expressions of the rationality of modern production methods.In 1896, at the age of 35, Henry Howard Holmes, whose real name was Herman Webster Mudget, became the first serial killer in the United States, confessing to dozens of crimes. To carry out his activities quietly, he built in Chicago a building so vast that his neighbors called it the "Ch teau." Located just a stone's throw from the most sophisticated slaughterhouses in the world, lethal, practical, and comfortable, Holmes's building was equipped with the latest innovations. A rational, cozy masterpiece of crime dressed in slippers, Holmes's project fit perfectly into the functionalist project of the modern world.In The Murder Factory, Alexandra Midal examines the almost simultaneous emergence of the industrial revolution and the figure of the serial killer. Far from being a coincidence, it marks the rationality of new production methods-of which the assembly line and serial murder are two expressions. In the Holmes case, an antihero of modern history can shed light on the treatment of living things brought about by this economic, mechanical, and cultural revolution.H. H. Holmes's confessions, published in the Philadelphia Enquirer just before his execution in April 1896, follow Midal's text. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Soft cover. Condición: Good. Berlin and New York: Sternberg Press, 2010.8 1/4 x 6 1/4 inches: pp. 304. Purple stiff cardboard with silver, white and lavender type. Edge and corner wear, rubbing, scuffing, creasing. Spine cocked. Text is unmarked. Binding tight.

Paperback. Condición: new. Paperback. The first book-length inquiry into the twisted romantic ballad, giving a sense of both its history and contemporary currency.The first book-length inquiry into the twisted romantic ballad, giving a sense of both its history and contemporary currency.Titled after Soft Cell's version of the original 1965 Gloria Jones track, Tainted Love is the first book-length inquiry into the subject of the twisted romantic ballad, giving a sense of both its history and contemporary currency. Sometimes extreme, this twist to the conventional romantic ballad spans across gender and generational boundaries to subvert our understanding of both the genre's function and its behavior. Each chapter of Tainted Love takes a deep dive into a single twisted ballad, examining both its inner workings-lyrics, melody, and vocal approach-and its broader cultural resonance.Featuring an analysis of songs by Kendrick Lamar, Nina Simone, Roxy Music, Joni Mitchell, The Velvet Underground, Frank Sinatra, Soft Cell, Paul McCartney, Charlotte & Serge Gainsbourg, PJ Harvey & Nick Cave, and Little Simz, this book turns on the question- What compels songwriters to compose-and us to listen to-these warped songs? Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Softcover. Condición: Very Good+. A nice, clean copy. Remainder mark on lower edge. ; Sternberg Press; 6.7 X 4.3 X 0.4 inches; 176 pages.

Paperback. Condición: new. Paperback. A record of a symposium on the legacy of the late Luxembourgish artist Michel Majerus.In the span of a short yet exceptionally prolific career, Luxembourgish artist Michel Majerus (1967-2002) transgressed the well-worn rules of painting to capture the influence of digital media and pop culture during the 1990s and early 2000s.Majerus's large-scale paintings and installations-characterized by the artist's 'sampling' and collaging of an eclectic repertoire of imagery and text borrowed from art history, video games, commercials, and electronic music-resonate with the rapid expansion of globalized consumer culture and digital technology.This book collects and preserves the talks and lecture-performances held during a symposium on Majerus at Mudam, the contemporary art museum in Luxembourg. The convening considered the relevance of Majerus's reflections today and discussed the dimensions of his legacy----investigating his influence on the practices of the digitally native artists, curators, and researchers who came after him.The symposium was the first chapter of a program dedicated to Majerus's work at the museum and was followed by the exhibition SINNMASCHINE, curated by Bettina Steinbr gge. Rather than a retrospective, the exhibition examined Majerus's working methods by displaying never-before-exhibited archival material, including Majerus's drawings and writings from his expansive collection of notebooks. This publication bridges the exhibition and the symposium's reflections, featuring images of Majerus's work and notebooks alongside contributions by Cory Arcangel, Karen Archey, Motoko Ishibashi, Ingrid Luquet-Gad, Clementine Proby, Fabian Sch neich, Stephanie Seidel, Bettina Steinbr gge, and Sarah Johanna Theurer.what looks good today may not look good tomorrow- The Legacy of Michel Majerus is the first book in the Mudam Series. This series is an edited collection of interventions, symposiums, and lectures by artists, critics, writers, curators, art historians, and thinkers that have taken place at Mudam, the contemporary art museum in Luxembourg. Each volume is dedicated to a specific artist or theme, following the museum's exhibition program. The series is meant as a collection of working documents that open up a dialogue beyond institutional walls-a gentle nod to books still being the greatest of meeting places. Mudam Series is conceived and edited by Bettina Steinbr gge and Mudam's editorial team. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. A techno-fiction novel on the uneasy desire for anti-rationalist ideas on the internet.Taking off along the grotesque evolutionary curve of the internet, this novel by Mochu brings together Japanese otaku subcultures, Hindu mythology, darknet highways, ultraviolent cyberpunk forums, and renegade university departments to forge a transnational narrative that trips through the incompatible fantasies of rationality and civilization, with wormholes through ancient tales, recent cinema, plain-wrong art histories, and pirated philosophical reflections. The novel opens with a case of abduction in India. The operations of a far-right publishing house are interrupted by extraterrestrial influences with political intent. The attack on a science-fiction writer at a beach in Goa seems connected to a bot-propelled puzzle revolving around the defacement of Medieval temple relics elsewhere. A detective specialized in interstellar sociology finds clues that point to a transgalactic anarchist group with ties to online Posadist forums, while Eurasian political theory circulates as noise-objects in Goas beachside clubs. Meanwhile, occultist explorers in the sci-fi writers story find that the legendary homeland for Hinduism in the Arctic has become infested by Gradients of Hegelian Unhappiness by way of an invasive subzero entity buried in deep snow. The detectives investigations eventually turn metaphysical, settling on impossible solutions spanning the far reaches of outer space.Reactionary behavior on the internet, having spawned numerous retroactive origin stories for itself, takes on a tentacular presence across diverse political spectrums, time periods, and cultural contexts, giving the impression of a vast and tangled entity with distributed intelligence. Fatally fused by a common hatred for the legacies of the Enlightenment, popular manifestations go by terms like alt-right and neo-reaction, powered by nerdy forums and blog posts across the web. Stationing conspiracy theory itself as the central form of thinking, acting, and concept-making in the twenty-first century, Bezoar Delinqxenz is a mixtape simulation of these entanglements at the borderlands of fiction, insanity, and political emancipation. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. The most significant critical, theoretical, and art historical texts by the artist, writer, and filmmaker Aria Dean.Compiled here for the first time, the selected writings of Aria Dean (b. 1993, Los Angeles) mount a trenchant critique of representational systems. A visual artist and filmmaker, Dean has also emerged as one of the leading critical voices of her generation through a body of writing that maps the forces of aesthetic theory, image regimes, and visibility onto questions of race and power. Deans work across media has long been defined by what she calls a fixation on the subject and its borders, and the texts collected here filter that inquiry through digital networks, art history, and Black radical thought. Equally at home discussing artists who embrace difficultyfrom Robert Morris to David Hammons, Lorna Simpson, and Ulysses Jenkinsand conceptual frameworks such as Afropessimism, Dean often contends with how theoretical positions brush against the grain of lived reality: how the Structuralism handed down from the academy, for instance, can be commingled with critiques of structural racism, or how Georges Batailles notion of base matter transforms through an encounter with Blackness. Deans thinking embraces a definition of Black art that luxuriates in its outside-the-world-ness, as she writes in this volume, which works to elucidate Blacknesss proclivity for making and unmaking its own rules as it produces objects of cultural necessity. Originally published in Novemberof which Dean is a founding editoras well as in Texte zur Kunst, e-flux journal, and in exhibition contexts, the essays compiled in Bad Infinity were written over a six-year span that charts our rapidly evolving forms of subjectivity and sociality. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

185 S. : zahlr. Ill. Ex-library book with stamp and library-signature. Good Condition. 9781934105740 Sprache: Englisch Gewicht in Gramm: 780.

Paperback. Condición: new. Paperback. Illustrated essays that consider emergent consistencies and overarching issues that defined the first decade of e-flux journal.Illustrated essays that consider emergent consistencies and overarching issues that defined the first decade of e-flux journal.In Wonderflux you will find yourself in front of disappearing mirrors held up to curators, critics, and artists; sailing through counterfactual universes; face-to-face with cold-blooded killers, faceless men, weary but buoyant prophets; all the while imbued with stubborn thriving and stubborn refusal to be moved or monetized, and once in a while having earnest conversations with robot(s and) workers.The authors included here have shaped the varied concerns and urgencies of e-flux journal since 2008. As a theory-driven art journal made up entirely of hypertext and digital images and embraced by academic circles, we sometimes wonder about the artistic and sensual use of text and image. Does the thinking of some of our favorite authors also speak to a place beyond floods of automatic links and references and rectangular photographic portals? To a broader and more applied artistic domain like the imaginative sensibility of illustration, where entire worlds arise from the simple and deliberate placement of lines on paper?ContributorsFranco "Bifo" Berardi and Andrew Alexander, Raqs Media Collective & Freddy Carrasco, Liam Gillick, Elizabeth A. Povinelli & Clara Bessijelle Johansson, Martha Rosler & Josh Neufeld, Reza Negarastani & Keith Tilford, Hu Fang & Mojo Wang, Keller Easterling & Meijia Xu Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. A diaristic novel on contemporary friendship and its importance.A diaristic novel on contemporary friendship and its importance.Isabelle Graw's latest book reflects on the purposes and struggles of friendship in competitive social milieus. By focusing on her own social milieu-the art world-Graw demonstrates how friendships are neither totally disinterested nor reduceable to their use. Written in the intimate form of a fictional diary, this book laments useful friendships while praising true friendship in all its forms. For Graw, friendship is an existential necessity-if only because it points to how we relate to and depend on others. Friendship, she finds, is as important as the air we breathe-with it, we are able to fully live. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: Gut. Guyton, Wade Ilustrador. 192 S. mit Abbildungen. Einband mit Gebrauchsspuren, sonst in gutem Zustand, Text sauber. Cover with signs of wear, otherwise in good condition, text clean. --- "In dialogue with some of the most interesting modern and contemporary philo- sophical figures, Bettina Funcke traces the divisions and alternations in twentieth- century art between high and low engagements with popular forms. She reveals fascinatingly how twentieth-century artists not only seek to engage the people but also problematize "the people" as a political and cultural construct." -Michael Hardt, co-author of Empire and Multitude -- "In this far-ranging, muscular book, Bettina Funcke persuasively argues for a renewed attention to the dialectical relationship between high culture and mass culture. Against the notion that the two domains have become wholly indis- tinguishable, Funcke posits a stubborn, even agonistic sphere still discernable between them; in her account, it is the praxis of "contemporary art" that both embodies and reflects upon this condition. Skillfully delivering a complex his- tory of the longstanding, slippery debates around hierarchical and repressive structures of culture, Funcke moves through two centuries of philosophical and art historical discourse. Tending to canonical and often contradictory- premises by authors including Buchloh, Derrida, Foucault, and Greenberg and to still-ambiguous and heavily debated artistic practices like those of Beuys and Warhol, Funcke's analysis extends, with great implication, into the philosophi- cal and artistic details of our own moment. In Pop or Populus, Funcke delivers a cohesive, suggestive narrative that takes up the central issues of contemporary culture and refuses to consider any history a closed case." - Johanna Burton, art historian and critic, Associate Director and Senior Facul- ty, Whitney Museum of American Art Independent Study Program, New York. --- CONTENTS: Preface to the English Edition: Letter from New York - - INTRODUCTION - - The Printer Drawing Illustrations: A Collaboration with Wade Guyton - - I. THE ARCHIVE: PROFIT VERSUS IMMORTALITY - - The Intangibility of the Archive Discursive Praxis The Moment of the Infinite Archival Wars - - Marcel Duchamp: The Transvaluation of Values - - II. ART BETWEEN STATE AND MARKETPLACE - - With Clement Greenberg, a Misunderstanding "Avant-Garde and Kitsch" - - Stateless, But [in] What State? - - Art as Advertising On the Ignorant Peasant Totalitarianism and Mass Culture Mass Culture or Socialism? - - The Popularizations of Jackson Pollock Hans Namuth Films Jackson Pollock - - III. INVENTING THE PUBLIC AS ENEMY - - Ressentiments - - Historical Consciousness and the Partition of the Sensual - - The Masses Laugh Back - - The Artist's Persona on Television - - Andy Warhol: Pure Negativity, Undaunted! - - Raising an Eyebrow - - Joseph Beuys: Charlatanism as Media Strategy - - Mythologies: Benjamin Buchloh and Joseph Beuys - - A Broader Notion of Art and the Broader Public - - Shaman-Showman - - "One must use the means with which one can change something." - - IV. POP ART: DREAMS OF SURPASSING ALL POSSIBLE DIFFERENCE - - Experiments in Art and Technology (E.A.T.) and the Idea of the Emancipated Spectator Technology, Spectacle, and Avant-Garde Video and Local Knowledge The Artist as Amateur and Observer - - Not Merely Pop, but also Populus - - Andy Warhol: Dispersion and Nullification Aufhebungen/Sublations Stars and Icons Media Spaces, "Wild" Archives - - V. DISPLACED STRUGGLING, LOCALIZED STRUGGLES - - The Politics of Aesthetics or the Politics of Art - - Acknowledgments. ISBN 9781933128894 Sprache: Deutsch Gewicht in Gramm: 550.

Paperback. Condición: new. Paperback. How our experience of presence, time, and history is articulated in contemporary artistic practices.How our experience of presence, time, and history is articulated in contemporary artistic practices.Our present is defined by contemporaneity- the interconnection of heterogeneous times, histories, and temporalities. These many and various times do not merely exist in parallel with one another, simultaneously. Rather, they interconnect and are brought to bear on the same present, forming a sort of planetary present, and-at least in principle-a global sharing of time, although one not shared equally. In The Changing Constitution of the Present- Essays on the Work of Art in Times of Contemporaneity, Jacob Lund explores how the conditions for politically engaged art and aesthetic practice, for questioning the present, have changed in recent decades, while considering how our historical present and its temporal quality differ significantly from previous presents. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. A novel reading of the work of one of the most influential designers of the twentieth century.A novel reading of the work of one of the most influential designers of the twentieth century.In this provocative intellectual biography, architectural historian Mark Wigley makes the surprising claim that the thinking behind modernist architect Konrad Wachsmann's legendary projects was dominated by the idea of television. Investigating the archives of one of the most influential designers of the twentieth century, Wigley scrutinizes Wachsmann's design, research, and teaching, closely reading a succession of unseen drawings, models, photographs, correspondence, publications, syllabi, reports, and manuscripts to argue that Wachsmann is an anti-architect-a student of some of the most influential designers of the 1920s who dedicated thirty-five post-Second World War years to the disappearance of architecture.Wachsmann turned architecture against itself. His hypnotic projects for a new kind of space were organized around the thought that television enables a different way of living together. While architecture is typically embarrassed by television, preferring to act as if it never happened, Wachsmann fully embraced it. He dissolved buildings into pulsating mirages that influenced the experimental avant-gardes of the 1960s and 1970s; but Wigley demonstrates that this work was even more extreme than the experiments it inspired. Wigley's forensic analysis of a career shows that Wachsmann developed one of the most compelling manifestos of what architecture would need to become in the age of ubiquitous electronics. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. What comes after end-of-world narratives- visions of just futurity and multispecies flourishing.What comes after end-of-world narratives- visions of just futurity and multispecies flourishing.There is widespread consensus that we are living at the end-of democracy, of liberalism, of capitalism, of a healthy planet, of the Holocene, of civilization as we know it. Drawing on radical futurisms and visions of justice-to-come emerging from the traditions of the oppressed-Indigenous, African-American, multispecies, anti-capitalist-as materialized in experimental visual cultural, new media, aesthetic practices, and social movements, in this book. T. J. Demos poses speculative questions about what comes after end-of-world narratives, arguing that it's as vital to defeat fatalistic nihilism as the false solutions of green capitalism and algorithmic governance.How might we decolonize the future, and cultivate an emancipated chronopolitics in relation to an undetermined not-yet? If we are to avoid climate emergency's cooptation by technofixes, and the defuturing of multitudes by xenophobic eco-fascism, Demos argues, we must cultivate visions of just futurity and multispecies flourishing. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. Essays on the question on how art-and contemporary art practices in particular-embodies an intelligence capable of serving the erasure of the culture/nature distinction.Essays on the question on how art-and contemporary art practices in particular-embodies an intelligence capable of serving the erasure of the culture/nature distinction.The Complex Answer- On Art as a Non-Binary Intelligence presents a series of entangled essays on the question on how art-and contemporary art practices in particular-embodies an intelligence capable of serving the erasure of the culture/nature distinction. The book is conceived in four parts and each not only introduces a slightly different writing on the subject matter, but also refers to concrete questions that affect the practice of art, the exercise of exhibiting, the duty of reflecting, and the institutional forms that define our present but may radically change in a near future.The book imagines art and contemporary art as an organ. An organ that produces an experience of inexpressible realities that are fundamental to understanding life and its processes. Stem cells exist, first, without a purpose and it is for the whole organism to decide if they will become part of an auditive nerve or the brain or the cornea of an eye. This adding to an organ is how Chus Martinez understands the intelligence of art. Poets and artists have claimed to understand the language of birds and flowers. We speak now of multi-species communication without a trace of metaphoric language. The experience of nature has evolved inside artistic practice. One could claim that the very fact that we talk about artificial intelligence is a merit of the arts. To transfer traits of organic life to inorganic entities such as information systems is a bold move that took centuries to prepare. Art has been essential in getting our senses and our arguments ready to accept this reality. The same with animal language, the synchronized reactions of a rainforest, and the transformative way fish have been discovered as able to recognize their own image in a mirror. These are just jests on the part of the sciences, developments of technical knowledges. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condición: new. Paperback. Artists engage with materiality and value, with subatomic particles and radiation, as well as with the objectification of human and nonhuman organisms.The object as obstacle or obstruction, and of the artwork as an aesthetic and political objection.Forms of Abstraction engages with abstraction not as a formal option in art, or as an airy theoretical speculation, but as an operational force that has redesigned our world, and continues to do so. What Alfred Sohn-Rethel has called the "real abstraction" of value-form molds the world, and does so in conjunction with the real abstractions of the law and of technoscience.In this first volume, Objections, Sven L tticken takes his cue from the Latin root of object, obiectum-which refers to something put before the subject, something thrown in one's way-pursuing this sense of the object as obstacle or obstruction, and of the artwork as an aesthetic and political objection. L tticken sees artists engaging with materiality and value, with subatomic particles and radiation as well as with the objectification of human and nonhuman organisms. Along the way, we encounter theoretical objects such as the fetish, the plaster cast, the patented bacteria, the buried radioactive container, and the contemporary artwork itself. L tticken analyzes contemporary art as a set of aesthetic practices revolving around problematic and questionable objects that can act as productive objections.Among the artists discussed are Agency, Kader Attia, Stanley Brouwn, Antje Ehmann and Harun Farocki, Andrea Fraser, Hans Haacke, Carsten H ller and Rosemarie Trockel, Natascha Sadr Haghighian, Sean Snyder, and Jonas Staal. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.