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Marble in metamorphosis
Marble in metamorphosis
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''Marble in metamorphosis'' contemplates the physical and cultural life of marble. It explores the ethics, politics and symbolism of its use and deliberates over the spirit of the material and why some cultures so revere and desire it. In reflecting on the deep relationship between marble and human culture, it considers the social and historical function of the material(...)
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''Marble in metamorphosis'' contemplates the physical and cultural life of marble. It explores the ethics, politics and symbolism of its use and deliberates over the spirit of the material and why some cultures so revere and desire it. In reflecting on the deep relationship between marble and human culture, it considers the social and historical function of the material(...)
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Marble in metamorphosis
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''Marble in metamorphosis'' contemplates the physical and cultural life of marble. It explores the ethics, politics and symbolism of its use and deliberates over the spirit of the material and why some cultures so revere and desire it. In reflecting on the deep relationship between marble and human culture, it considers the social and historical function of the material throughout time. ''Marble in metamorphosis'' features a new essay on marble and its uses written by Rachel Cusk, who – while on a trip to a marble bearing island in Greece’s Aegean sea – writes on the modern notion of classicism, the fate of monuments through history and the tension between classicism and realism in art and architecture. Chris Kontos’ photographic series explores two landscapes marked by marble and its uses: the island of Tinos, with its centuries-old tradition of marble mining and craft; and Athens, which has an ancient and enduring connection to marble evident in its ubiquitous presence throughout the city. These photographs tell a story of extraction, craft, tradition, and how meaning is made and remade through marble as a material in the city.
Marble in metamorphosis
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''Marble in metamorphosis'' contemplates the physical and cultural life of marble. It explores the ethics, politics and symbolism of its use and deliberates over the spirit of the material and why some cultures so revere and desire it. In reflecting on the deep relationship between marble and human culture, it considers the social and historical function of the material throughout time. ''Marble in metamorphosis'' features a new essay on marble and its uses written by Rachel Cusk, who – while on a trip to a marble bearing island in Greece’s Aegean sea – writes on the modern notion of classicism, the fate of monuments through history and the tension between classicism and realism in art and architecture. Chris Kontos’ photographic series explores two landscapes marked by marble and its uses: the island of Tinos, with its centuries-old tradition of marble mining and craft; and Athens, which has an ancient and enduring connection to marble evident in its ubiquitous presence throughout the city. These photographs tell a story of extraction, craft, tradition, and how meaning is made and remade through marble as a material in the city.
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books
books
Publication:
June 2022
June 2022
Subject:
Art Theory
Art Theory
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books
books
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$29.95
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In the late 1990s, three monuments -- Crab Park "Boulder," "Marker of Change," and Standing "with Courage, Strength and Pride" -- were built in Vancouver's Downtown Eastside. Located within a few city blocks of one another, the monuments were grassroots initiatives that challenged the norms of civic art by claiming a place in public space for society's more(...)
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In the late 1990s, three monuments -- Crab Park "Boulder," "Marker of Change," and Standing "with Courage, Strength and Pride" -- were built in Vancouver's Downtown Eastside. Located within a few city blocks of one another, the monuments were grassroots initiatives that challenged the norms of civic art by claiming a place in public space for society's more(...)
Title:
Speaking for a long time : public space & social memory in Vancouver
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In the late 1990s, three monuments -- Crab Park "Boulder," "Marker of Change," and Standing "with Courage, Strength and Pride" -- were built in Vancouver's Downtown Eastside. Located within a few city blocks of one another, the monuments were grassroots initiatives that challenged the norms of civic art by claiming a place in public space for society's more vulnerable groups, and each figured in debates about many kinds of violence. "Speaking for a Long Time" offers unique insights into the creation of memorials and the multiple, often contested meanings that can be attached to them in local communities. Part 1, "Act," explores the monuments' origin stories and highlights the distinctive perspectives of their founders. Part 2, "Frame," places these narratives in the context of modern debates and theories on public space and social memory. Part 3, "Forge," returns to the Downtown Eastside to show how the resilience and agency of grassroots activists can give the socially marginalized a visible presence in our urban landscapes. This vivid account of the creation of memory-scapes in a marginalized community asks us to reconsider what constitutes public art that will "speak for a long time."
Speaking for a long time : public space & social memory in Vancouver
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In the late 1990s, three monuments -- Crab Park "Boulder," "Marker of Change," and Standing "with Courage, Strength and Pride" -- were built in Vancouver's Downtown Eastside. Located within a few city blocks of one another, the monuments were grassroots initiatives that challenged the norms of civic art by claiming a place in public space for society's more vulnerable groups, and each figured in debates about many kinds of violence. "Speaking for a Long Time" offers unique insights into the creation of memorials and the multiple, often contested meanings that can be attached to them in local communities. Part 1, "Act," explores the monuments' origin stories and highlights the distinctive perspectives of their founders. Part 2, "Frame," places these narratives in the context of modern debates and theories on public space and social memory. Part 3, "Forge," returns to the Downtown Eastside to show how the resilience and agency of grassroots activists can give the socially marginalized a visible presence in our urban landscapes. This vivid account of the creation of memory-scapes in a marginalized community asks us to reconsider what constitutes public art that will "speak for a long time."
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books
books
Publication:
April 2011
April 2011
Subject:
Architecture in Canada
Architecture in Canada
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books
books
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$42.00
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Michael Wolf is best known for his large-size architectural shots from Hong Kong and Chicago. Actually the series “Architecture of Density” and “The Transplant City” are part of a constantly growing oeuvre which deals with the conditions of the modern urban life under the title “Life in Cities”. With his recently published book “Tokyo Compression”, which shows depressing(...)
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Michael Wolf is best known for his large-size architectural shots from Hong Kong and Chicago. Actually the series “Architecture of Density” and “The Transplant City” are part of a constantly growing oeuvre which deals with the conditions of the modern urban life under the title “Life in Cities”. With his recently published book “Tokyo Compression”, which shows depressing(...)
Title:
Michael Wolf: a series of unfortunate events
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Michael Wolf is best known for his large-size architectural shots from Hong Kong and Chicago. Actually the series “Architecture of Density” and “The Transplant City” are part of a constantly growing oeuvre which deals with the conditions of the modern urban life under the title “Life in Cities”. With his recently published book “Tokyo Compression”, which shows depressing impressions from the subway system in Tokyo, the photographer raises the question: In how far may, should or must photographers deal with the public today? Michael Wolf takes up this topic in his work “Street View”, which has been started at the same time as “Tokyo Compression”, and reinterprets the genre of the street photography in a highly unconventional way by using the almost inexhaustible picture pool of the Google Tool as basic material for his own images. With the camera in front of the screen he gets “his” images out of the automatically generated, authorless Google screens. Extreme details and geographical fade-ins of the software, which usually should serve the orientation, induce photographs which have an irritating as well as alarming effect like the underground portraits from Tokyo.
Michael Wolf: a series of unfortunate events
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Michael Wolf is best known for his large-size architectural shots from Hong Kong and Chicago. Actually the series “Architecture of Density” and “The Transplant City” are part of a constantly growing oeuvre which deals with the conditions of the modern urban life under the title “Life in Cities”. With his recently published book “Tokyo Compression”, which shows depressing impressions from the subway system in Tokyo, the photographer raises the question: In how far may, should or must photographers deal with the public today? Michael Wolf takes up this topic in his work “Street View”, which has been started at the same time as “Tokyo Compression”, and reinterprets the genre of the street photography in a highly unconventional way by using the almost inexhaustible picture pool of the Google Tool as basic material for his own images. With the camera in front of the screen he gets “his” images out of the automatically generated, authorless Google screens. Extreme details and geographical fade-ins of the software, which usually should serve the orientation, induce photographs which have an irritating as well as alarming effect like the underground portraits from Tokyo.
Form:
books
books
Publication:
October 2011
October 2011
Subject:
Photography monographs
Photography monographs
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books
books
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$178.50
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Tower and Slab looks at the contradictory history of the modernist mass housing block - home to millions of city dwellers around the world. Few urban forms have roused as much controversy. While in the United States decades-long criticism caused the demolition of most mass housing projects for the poor, in the booming metropolises of Shanghai and Mumbai remarkably similar(...)
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Tower and Slab looks at the contradictory history of the modernist mass housing block - home to millions of city dwellers around the world. Few urban forms have roused as much controversy. While in the United States decades-long criticism caused the demolition of most mass housing projects for the poor, in the booming metropolises of Shanghai and Mumbai remarkably similar(...)
Title:
Tower and slab : histories of global mass housing
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Tower and Slab looks at the contradictory history of the modernist mass housing block - home to millions of city dwellers around the world. Few urban forms have roused as much controversy. While in the United States decades-long criticism caused the demolition of most mass housing projects for the poor, in the booming metropolises of Shanghai and Mumbai remarkably similar developments are being built for the wealthy middle class. While on the surface the modernist apartment block appears universal, it is in fact diverse in its significance and connotations as its many different cultural contexts. Florian Urban studies the history of mass housing in seven narratives: Chicago, Paris, Berlin, Brasilia, Mumbai, Moscow, and Shanghai. Investigating the complex interactions between city planning and social history, Tower and Slab shows how the modernist vision to house the masses in serial blocks succeeded in certain contexts and failed in others. Success and failure, in this respect, refers not only to the original goals to solve the housing crisis and provide modern standards for the entire society but equally to changing significance of the housing blocks within the respective societies and their perception by architects, politicians, and inhabitants.
Tower and slab : histories of global mass housing
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$178.50
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Summary:
Tower and Slab looks at the contradictory history of the modernist mass housing block - home to millions of city dwellers around the world. Few urban forms have roused as much controversy. While in the United States decades-long criticism caused the demolition of most mass housing projects for the poor, in the booming metropolises of Shanghai and Mumbai remarkably similar developments are being built for the wealthy middle class. While on the surface the modernist apartment block appears universal, it is in fact diverse in its significance and connotations as its many different cultural contexts. Florian Urban studies the history of mass housing in seven narratives: Chicago, Paris, Berlin, Brasilia, Mumbai, Moscow, and Shanghai. Investigating the complex interactions between city planning and social history, Tower and Slab shows how the modernist vision to house the masses in serial blocks succeeded in certain contexts and failed in others. Success and failure, in this respect, refers not only to the original goals to solve the housing crisis and provide modern standards for the entire society but equally to changing significance of the housing blocks within the respective societies and their perception by architects, politicians, and inhabitants.
Form:
books
books
Publication:
April 2012
April 2012
Subject:
Collective Housing
Collective Housing
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books
books
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$22.99
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Summary:
In 1923, a group of young radical German thinkers and intellectuals came together to at Victoria Alle 7, Frankfurt, determined to explain the workings of the modern world. Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we(...)
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In 1923, a group of young radical German thinkers and intellectuals came together to at Victoria Alle 7, Frankfurt, determined to explain the workings of the modern world. Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we(...)
Title:
Grand Hotel Abyss: the lives of the Frankfurt school
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In 1923, a group of young radical German thinkers and intellectuals came together to at Victoria Alle 7, Frankfurt, determined to explain the workings of the modern world. Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we think, but also the subjects we deem worthy of intellectual investigation. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century. "Grand Hotel Abyss" combines biography, philosophy, and storytelling to reveal how the Frankfurt thinkers gathered in hopes of understanding the politics of culture during the rise of fascism. Some of them, forced to escape the horrors of Nazi Germany, later found exile in the United States. Benjamin, with his last great work—the incomplete Arcades Project—in his suitcase, was arrested in Spain and committed suicide when threatened with deportation to Nazi-occupied France. On the other side of the Atlantic, Adorno failed in his bid to become a Hollywood screenwriter, denounced jazz, and even met Charlie Chaplin in Malibu. After the war, there was a resurgence of interest in the School. From the relative comfort of sun-drenched California, Herbert Marcuse wrote the classic One Dimensional Man, which influenced the 1960s counterculture and thinkers such as Angela Davis; while in a tragic coda, Adorno died from a heart attack following confrontations with student radicals in Berlin. By taking popular culture seriously as an object of study—whether it was film, music, ideas, or consumerism—the Frankfurt School elaborated upon the nature and crisis of our mass-produced, mechanised society. Grand Hotel Abyss shows how much these ideas still tell us about our age of social media and runaway consumption.
Grand Hotel Abyss: the lives of the Frankfurt school
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In 1923, a group of young radical German thinkers and intellectuals came together to at Victoria Alle 7, Frankfurt, determined to explain the workings of the modern world. Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we think, but also the subjects we deem worthy of intellectual investigation. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century. "Grand Hotel Abyss" combines biography, philosophy, and storytelling to reveal how the Frankfurt thinkers gathered in hopes of understanding the politics of culture during the rise of fascism. Some of them, forced to escape the horrors of Nazi Germany, later found exile in the United States. Benjamin, with his last great work—the incomplete Arcades Project—in his suitcase, was arrested in Spain and committed suicide when threatened with deportation to Nazi-occupied France. On the other side of the Atlantic, Adorno failed in his bid to become a Hollywood screenwriter, denounced jazz, and even met Charlie Chaplin in Malibu. After the war, there was a resurgence of interest in the School. From the relative comfort of sun-drenched California, Herbert Marcuse wrote the classic One Dimensional Man, which influenced the 1960s counterculture and thinkers such as Angela Davis; while in a tragic coda, Adorno died from a heart attack following confrontations with student radicals in Berlin. By taking popular culture seriously as an object of study—whether it was film, music, ideas, or consumerism—the Frankfurt School elaborated upon the nature and crisis of our mass-produced, mechanised society. Grand Hotel Abyss shows how much these ideas still tell us about our age of social media and runaway consumption.
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books
books
Publication:
September 2017
September 2017
Subject:
Critical Theory
Critical Theory
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books
books
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$90.00
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"Things as they are" presents the story of photojournalism over fifty years, from 1955 until today. It takes us from the golden era of the illustrated press—the heyday of Life magazine and Picture Post, and the moment of the Museum of Modern Art’s defining Family of Man exhibition—to the explosion of digital media in the twenty-first century. This history is told through(...)
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"Things as they are" presents the story of photojournalism over fifty years, from 1955 until today. It takes us from the golden era of the illustrated press—the heyday of Life magazine and Picture Post, and the moment of the Museum of Modern Art’s defining Family of Man exhibition—to the explosion of digital media in the twenty-first century. This history is told through(...)
Publication:
March 2006, New York
March 2006, New York
Title:
Things as they are : photojournalism in context since 1955
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"Things as they are" presents the story of photojournalism over fifty years, from 1955 until today. It takes us from the golden era of the illustrated press—the heyday of Life magazine and Picture Post, and the moment of the Museum of Modern Art’s defining Family of Man exhibition—to the explosion of digital media in the twenty-first century. This history is told through the presentation of 125 photojournalism features shot and published throughout the world. These stories are presented in context—shown on the pages of newspapers and magazines, as the public originally experienced them. In this way, "Things as they are" reveals how the events of the world, the art of photographers, and the interests of publishers and the press converged on the printed page. It traces how photojournalism has developed over time alongside changing technology, media, fashions in photography—and a changing world. It includes photo-essays by photographers such as W. Eugene Smith, Sebastião Salgado, Mary Ellen Mark, and James Nachtwey, each accompanied by commentary. An international panel of one hundred photographers, editors, art directors, historians, and magazine collectors has made the final selections for the book. They have chosen stories that exemplify the highest quality of work published around the world during each period as well as stories that have played a key role in shaping the history of photojournalism itself, demonstrating important innovations in photography and in publishing. The book includes a preface by Michiel Munneke, director of World Press Photo; a foreword by Christian Caujolle, curator and founder of Agence Vu Press; an introduction by Mary Panzer that considers the past, present, and future of photojournalism; and a timeline of the period illustrated with iconic winners of the annual World Press Photo awards.
Things as they are : photojournalism in context since 1955
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"Things as they are" presents the story of photojournalism over fifty years, from 1955 until today. It takes us from the golden era of the illustrated press—the heyday of Life magazine and Picture Post, and the moment of the Museum of Modern Art’s defining Family of Man exhibition—to the explosion of digital media in the twenty-first century. This history is told through the presentation of 125 photojournalism features shot and published throughout the world. These stories are presented in context—shown on the pages of newspapers and magazines, as the public originally experienced them. In this way, "Things as they are" reveals how the events of the world, the art of photographers, and the interests of publishers and the press converged on the printed page. It traces how photojournalism has developed over time alongside changing technology, media, fashions in photography—and a changing world. It includes photo-essays by photographers such as W. Eugene Smith, Sebastião Salgado, Mary Ellen Mark, and James Nachtwey, each accompanied by commentary. An international panel of one hundred photographers, editors, art directors, historians, and magazine collectors has made the final selections for the book. They have chosen stories that exemplify the highest quality of work published around the world during each period as well as stories that have played a key role in shaping the history of photojournalism itself, demonstrating important innovations in photography and in publishing. The book includes a preface by Michiel Munneke, director of World Press Photo; a foreword by Christian Caujolle, curator and founder of Agence Vu Press; an introduction by Mary Panzer that considers the past, present, and future of photojournalism; and a timeline of the period illustrated with iconic winners of the annual World Press Photo awards.
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books
books
Publication:
March 2006, New York
March 2006, New York
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books
books
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$33.95
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Mucking around in the messy terrain of American trash, Jani Scandura tells the story of the United States during the Great Depression through evocative and photo-rich portraits of four different locales: Reno, Harlem, Key West, and Hollywood. In investigating these depression-era �dumps,� places that she claims contained and reclaimed the cultural, ideological, and(...)
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Mucking around in the messy terrain of American trash, Jani Scandura tells the story of the United States during the Great Depression through evocative and photo-rich portraits of four different locales: Reno, Harlem, Key West, and Hollywood. In investigating these depression-era �dumps,� places that she claims contained and reclaimed the cultural, ideological, and(...)
Title:
Down in the dumps: place, modernity, american depression
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Mucking around in the messy terrain of American trash, Jani Scandura tells the story of the United States during the Great Depression through evocative and photo-rich portraits of four different locales: Reno, Harlem, Key West, and Hollywood. In investigating these depression-era �dumps,� places that she claims contained and reclaimed the cultural, ideological, and material refuse of modern America, Scandura introduces the concept of �depressive modernity,� an enduring affective component of American culture that exposes itself at those moments when the foundational myths of America and progressive modernity�capitalism, democracy, individualism, secularism, utopian aspiration�are thrown into question. Depressive modernity is modernity at a standstill. Such a modernity is not stagnant or fixed, nor immobile, but is constituted by an instantaneous unstaging of desire, territory, language, and memory that reveals itself in the shimmering of place. An interpretive bricolage that draws on an unlikely archive of 1930s detritus�office memos, scribbled manuscripts, scrapbooks, ruined photographs, newspaper clippings, glass eyes, incinerated stage sets, pulp novels, and junk washed ashore�Down in the Dumps escorts its readers through Reno�s 1930s divorce factory, where couples from across the United States came to quickly dissolve matrimonial bonds; Key West�s multilingual salvage economy and the island that became the center of an ideological tug-of-war between the American New Deal government and a politically fraught Caribbean; post-Renaissance Harlem, in the process of memorializing, remembering, grieving and rewriting a modernity that had already passed; and Studio-era Hollywood, Nathanael West�s �dump of dreams,� in which the introduction of sound film and shifts in art direction began to transform how Americans understood place-making and even being itself. A coda on Alcatraz and the Pentagon brings the book into the present, exploring how American Depression comes to bear on post-9/11 America.
Down in the dumps: place, modernity, american depression
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Mucking around in the messy terrain of American trash, Jani Scandura tells the story of the United States during the Great Depression through evocative and photo-rich portraits of four different locales: Reno, Harlem, Key West, and Hollywood. In investigating these depression-era �dumps,� places that she claims contained and reclaimed the cultural, ideological, and material refuse of modern America, Scandura introduces the concept of �depressive modernity,� an enduring affective component of American culture that exposes itself at those moments when the foundational myths of America and progressive modernity�capitalism, democracy, individualism, secularism, utopian aspiration�are thrown into question. Depressive modernity is modernity at a standstill. Such a modernity is not stagnant or fixed, nor immobile, but is constituted by an instantaneous unstaging of desire, territory, language, and memory that reveals itself in the shimmering of place. An interpretive bricolage that draws on an unlikely archive of 1930s detritus�office memos, scribbled manuscripts, scrapbooks, ruined photographs, newspaper clippings, glass eyes, incinerated stage sets, pulp novels, and junk washed ashore�Down in the Dumps escorts its readers through Reno�s 1930s divorce factory, where couples from across the United States came to quickly dissolve matrimonial bonds; Key West�s multilingual salvage economy and the island that became the center of an ideological tug-of-war between the American New Deal government and a politically fraught Caribbean; post-Renaissance Harlem, in the process of memorializing, remembering, grieving and rewriting a modernity that had already passed; and Studio-era Hollywood, Nathanael West�s �dump of dreams,� in which the introduction of sound film and shifts in art direction began to transform how Americans understood place-making and even being itself. A coda on Alcatraz and the Pentagon brings the book into the present, exploring how American Depression comes to bear on post-9/11 America.
Form:
books
books
Publication:
January 2008, Durham, London
January 2008, Durham, London
Subject:
Urban Theory
Urban Theory
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books
books
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$47.50
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The discipline of architecture depends on the transmission in space and time of accumulated experiences, concepts, rules, and models. From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this(...)
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The discipline of architecture depends on the transmission in space and time of accumulated experiences, concepts, rules, and models. From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this(...)
Title:
Architecture in the age of printing : orality, writing, typography, and printed images in the history of architectural theory
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The discipline of architecture depends on the transmission in space and time of accumulated experiences, concepts, rules, and models. From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this book Mario Carpo discusses the communications media used by Western architects, from classical antiquity to modern classicism, showing how each medium related to specific forms of architectural thinking. Carpo highlights the significance of the invention of movable type and mechanically reproduced images. He argues that Renaissance architectural theory, particularly the system of the five architectural orders, was consciously developed in response to the formats and potential of the new printed media. Carpo contrasts architecture in the age of printing with what preceded it: Vitruvian theory and the manuscript format, oral transmission in the Middle Ages, and the fifteenth-century transition from script to print. He also suggests that the basic principles of "typographic" architecture thrived in the Western world as long as print remained our main information technology. The shift from printed to digital representations, he points out, will again alter the course of architecture.
Architecture in the age of printing : orality, writing, typography, and printed images in the history of architectural theory
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The discipline of architecture depends on the transmission in space and time of accumulated experiences, concepts, rules, and models. From the invention of the alphabet to the development of ASCII code for electronic communication, the process of recording and transmitting this body of knowledge has reflected the dominant information technologies of each period. In this book Mario Carpo discusses the communications media used by Western architects, from classical antiquity to modern classicism, showing how each medium related to specific forms of architectural thinking. Carpo highlights the significance of the invention of movable type and mechanically reproduced images. He argues that Renaissance architectural theory, particularly the system of the five architectural orders, was consciously developed in response to the formats and potential of the new printed media. Carpo contrasts architecture in the age of printing with what preceded it: Vitruvian theory and the manuscript format, oral transmission in the Middle Ages, and the fifteenth-century transition from script to print. He also suggests that the basic principles of "typographic" architecture thrived in the Western world as long as print remained our main information technology. The shift from printed to digital representations, he points out, will again alter the course of architecture.
Form:
books
books
Publication:
September 2001, Cambridge, Mass.
September 2001, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
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$39.95
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Summary:
The five physical senses of seeing, hearing, smelling, tasting and touching have been held to underpin the complexity of human experience ever since Aristotle first theorised about how they worked. Classical and scholastic philosophy up to the time of the European Enlightenment relegated their operations to its margins, viewing them as at best a distraction from higher(...)
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The five physical senses of seeing, hearing, smelling, tasting and touching have been held to underpin the complexity of human experience ever since Aristotle first theorised about how they worked. Classical and scholastic philosophy up to the time of the European Enlightenment relegated their operations to its margins, viewing them as at best a distraction from higher(...)
Title:
In the realm of the senses: a materialist theory of seeing and feeling
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The five physical senses of seeing, hearing, smelling, tasting and touching have been held to underpin the complexity of human experience ever since Aristotle first theorised about how they worked. Classical and scholastic philosophy up to the time of the European Enlightenment relegated their operations to its margins, viewing them as at best a distraction from higher thinking, and at worst a positive deception. Paradoxically, what one could not objectively know, the products of the mind, were accorded precedence over the concrete. From the Romantic era onwards, the senses moved to the centre of speculative thought, and the various dialectical currents of philosophy after Hegel made them interdependent with the intellectual function, which was held to derive most or all of its authority from them. This tendency has continued down to the sensualist, hedonist and anti-intellectual currents of our own day. In this theoretical consideration of what has been done to the senses in modern experience, Stuart Walton subjects the life of the senses to a further materialist turn, one that refuses a spiritualisation of the material realm, to which contemporary discourses of the body have often fallen prey, while at the same time preserving sensuality from being delivered once again to a sterile idealism.
In the realm of the senses: a materialist theory of seeing and feeling
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Summary:
The five physical senses of seeing, hearing, smelling, tasting and touching have been held to underpin the complexity of human experience ever since Aristotle first theorised about how they worked. Classical and scholastic philosophy up to the time of the European Enlightenment relegated their operations to its margins, viewing them as at best a distraction from higher thinking, and at worst a positive deception. Paradoxically, what one could not objectively know, the products of the mind, were accorded precedence over the concrete. From the Romantic era onwards, the senses moved to the centre of speculative thought, and the various dialectical currents of philosophy after Hegel made them interdependent with the intellectual function, which was held to derive most or all of its authority from them. This tendency has continued down to the sensualist, hedonist and anti-intellectual currents of our own day. In this theoretical consideration of what has been done to the senses in modern experience, Stuart Walton subjects the life of the senses to a further materialist turn, one that refuses a spiritualisation of the material realm, to which contemporary discourses of the body have often fallen prey, while at the same time preserving sensuality from being delivered once again to a sterile idealism.
Form:
books
books
Publication:
March 2016
March 2016
Subject:
Critical Theory
Critical Theory
Form:
books
books
Title:
New architecture London
New architecture London
Actions:
Price:
$58.50
(available in store)
Summary:
London has always been known for its iconic buildings, but the city has recently witnessed an explosion of new architecture from the world’s most acclaimed architects. This breathtaking volume offers a fascinating look at the city’s rapidly changing skyline and celebrates the enormous array of styles, materials, and cutting-edge technology that have been employed by(...)
$58.50
(available in store)
Summary:
London has always been known for its iconic buildings, but the city has recently witnessed an explosion of new architecture from the world’s most acclaimed architects. This breathtaking volume offers a fascinating look at the city’s rapidly changing skyline and celebrates the enormous array of styles, materials, and cutting-edge technology that have been employed by(...)
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
Publication:
April 2017
April 2017
Title:
New architecture London
Actions:
Price:
$58.50
(available in store)
Summary:
London has always been known for its iconic buildings, but the city has recently witnessed an explosion of new architecture from the world’s most acclaimed architects. This breathtaking volume offers a fascinating look at the city’s rapidly changing skyline and celebrates the enormous array of styles, materials, and cutting-edge technology that have been employed by today’s leading architects. The projects profiled here—brought to life by photographer Richard Schulman—range from dance and aquatic centers to world-class museums and global office headquarters. The book includes Rafael Viñoly’s “Walkie-Talkie” and “The Gherkin” by Foster + Partners, as well as Renzo Piano’s mixed-use skyscraper, “The Shard,” across the Thames. Tucked into a medieval alley, OMA’s New Court Rothschild Bank nimbly juxtaposes contemporary features with more traditional ones. Meanwhile, alongside St. Paul’s Cathedral, Jean Nouvel’s One New Change cleverly plays off its storied environs with an ingeniously constructed glass block that allows for multiple views of the iconic church. From the Tate Modern extension to the Emirates Airline tram, and from the Peckham Library to the US Embassy building, no new stone is left unturned or unremarked upon. This book demonstrates how one of the world’s oldest cities manages to feel eternally new and exciting.
New architecture London
Actions:
Price:
$58.50
(available in store)
Summary:
London has always been known for its iconic buildings, but the city has recently witnessed an explosion of new architecture from the world’s most acclaimed architects. This breathtaking volume offers a fascinating look at the city’s rapidly changing skyline and celebrates the enormous array of styles, materials, and cutting-edge technology that have been employed by today’s leading architects. The projects profiled here—brought to life by photographer Richard Schulman—range from dance and aquatic centers to world-class museums and global office headquarters. The book includes Rafael Viñoly’s “Walkie-Talkie” and “The Gherkin” by Foster + Partners, as well as Renzo Piano’s mixed-use skyscraper, “The Shard,” across the Thames. Tucked into a medieval alley, OMA’s New Court Rothschild Bank nimbly juxtaposes contemporary features with more traditional ones. Meanwhile, alongside St. Paul’s Cathedral, Jean Nouvel’s One New Change cleverly plays off its storied environs with an ingeniously constructed glass block that allows for multiple views of the iconic church. From the Tate Modern extension to the Emirates Airline tram, and from the Peckham Library to the US Embassy building, no new stone is left unturned or unremarked upon. This book demonstrates how one of the world’s oldest cities manages to feel eternally new and exciting.
Form:
books
books
Publication:
April 2017
April 2017
Subject:
Architecture since 1900, Europe
Architecture since 1900, Europe
