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This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois (...)
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This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois (...)
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The Vienna School reader : politics and art historical method in the 1930s
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This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of "structure," a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt's project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional empiricist scholarship. But the new project had its dark side. Sedlmayr used art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic, even while Pächt, a Jew, was forced into exile. Sedlmayr and the whole scholarly project of Strukturanalyse were sharply repudiated by Meyer Schapiro and later Ernst Gombrich. After an introductory essay, the book opens with two selections from Riegl. The next section includes two essays by Sedlmayr, two by Pächt, and one each by Guido Kaschnitz-Weinberg and Fritz Novotny, all dating from the 1930s. The book closes with the divergent responses of Benjamin (1933) and Schapiro (1936). The difference of opinion between these two key voices raises again the question of the legitimacy and effectiveness of the method, and reveals the analogies between the New Vienna School project and the antiempiricist cultural histories of our own time. The book also contains an extensive bibliography.
The Vienna School reader : politics and art historical method in the 1930s
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This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art. The key to this contextualist alchemy was the concept of "structure," a kind of deep formal property that the work of art shared with the world. Sedlmayr and Pächt's project immediately caught the attention of thinkers like Walter Benjamin who were similarly impatient with traditional empiricist scholarship. But the new project had its dark side. Sedlmayr used art history as a vehicle for a sweeping critique of modernity that soon escalated into nationalist and outright fascist polemic, even while Pächt, a Jew, was forced into exile. Sedlmayr and the whole scholarly project of Strukturanalyse were sharply repudiated by Meyer Schapiro and later Ernst Gombrich. After an introductory essay, the book opens with two selections from Riegl. The next section includes two essays by Sedlmayr, two by Pächt, and one each by Guido Kaschnitz-Weinberg and Fritz Novotny, all dating from the 1930s. The book closes with the divergent responses of Benjamin (1933) and Schapiro (1936). The difference of opinion between these two key voices raises again the question of the legitimacy and effectiveness of the method, and reveals the analogies between the New Vienna School project and the antiempiricist cultural histories of our own time. The book also contains an extensive bibliography.
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books
books
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January 1900, New York
January 1900, New York
Subject:
Architectural Theory
Architectural Theory
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books
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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(...)
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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(...)
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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.
Form:
books
books
Publication:
September 2017
September 2017
Subject:
Critical Theory
Critical Theory
Form:
books
books
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$45.95
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Summary:
Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of(...)
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Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of(...)
Title:
Dissonant waves: Ernst Schoen and experimental sound in the 20th century
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Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might. ''Dissonant waves'' tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises.
Dissonant waves: Ernst Schoen and experimental sound in the 20th century
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Summary:
Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might. ''Dissonant waves'' tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises.
Form:
books
books
Publication:
September 2023
September 2023
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
On things as ideas
On things as ideas
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This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been(...)
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Summary:
This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been(...)
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On things as ideas
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This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. Writers from different fields explore how things interact with materials, structures, and production processes while defining and registering the intangible qualities of the material world. Each author considers the different relationships between the context of a thing and its thingness, describing the ways in which things and ideas intersect. Contributions by Carl Andre, Charles Baudelaire, Walter Benjamin, Barbara Bloemink, Jan Boelen, Louise Bourgeois, Sheldon Cheney and Martha Candler Cheney, Alex Coles, Anthony Dunne and Fiona Raby, Hal Foster, Sigmund Freud, Dan Graham, Isabelle Graw, Sebastian Hackenschmidt and Dietmar Rübel, Graham Harman, G. W. F. Hegel, Martin Heidegger, Dave Hickey, Matthew Higgs, Donald Judd, Immanuel Kant, Frederick J. Kiesler, Sven Lütticken, Alessandro Mendini, W. J. T. Mitchell, Jasper Morrison, Bruno Munari, Robert Nickas, Alice Rawsthorn, Jeff Rian, Richard Rinehart, Anthony Vidler.
On things as ideas
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Summary:
This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. Writers from different fields explore how things interact with materials, structures, and production processes while defining and registering the intangible qualities of the material world. Each author considers the different relationships between the context of a thing and its thingness, describing the ways in which things and ideas intersect. Contributions by Carl Andre, Charles Baudelaire, Walter Benjamin, Barbara Bloemink, Jan Boelen, Louise Bourgeois, Sheldon Cheney and Martha Candler Cheney, Alex Coles, Anthony Dunne and Fiona Raby, Hal Foster, Sigmund Freud, Dan Graham, Isabelle Graw, Sebastian Hackenschmidt and Dietmar Rübel, Graham Harman, G. W. F. Hegel, Martin Heidegger, Dave Hickey, Matthew Higgs, Donald Judd, Immanuel Kant, Frederick J. Kiesler, Sven Lütticken, Alessandro Mendini, W. J. T. Mitchell, Jasper Morrison, Bruno Munari, Robert Nickas, Alice Rawsthorn, Jeff Rian, Richard Rinehart, Anthony Vidler.
Form:
books
books
Publication:
February 2017
February 2017
Subject:
Design Theory
Design Theory
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books
books
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$49.50
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Summary:
Parce qu'on la croit inscrite dans la ville et qu'elle semble apparaître comme une conséquence évidente de ses tracés mêmes (trottoirs, jardins, passages protégés, etc.), la promenade est aujourd'hui conçue comme une pratique ordinaire, normale et convenue. Le promeneur arpente le pavé de Paris. Il trouve plaisir et santé à user ses semelles sur ces dalles qui, dit-on, ne(...)
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Parce qu'on la croit inscrite dans la ville et qu'elle semble apparaître comme une conséquence évidente de ses tracés mêmes (trottoirs, jardins, passages protégés, etc.), la promenade est aujourd'hui conçue comme une pratique ordinaire, normale et convenue. Le promeneur arpente le pavé de Paris. Il trouve plaisir et santé à user ses semelles sur ces dalles qui, dit-on, ne(...)
Title:
Le promeneur à Paris au XVIIIe siècle
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Parce qu'on la croit inscrite dans la ville et qu'elle semble apparaître comme une conséquence évidente de ses tracés mêmes (trottoirs, jardins, passages protégés, etc.), la promenade est aujourd'hui conçue comme une pratique ordinaire, normale et convenue. Le promeneur arpente le pavé de Paris. Il trouve plaisir et santé à user ses semelles sur ces dalles qui, dit-on, ne sont faites que pour marcher. Pourtant, se promener dans la ville est un comportement historiquement construit, la cité ne s'est pas toujours offerte au flâneur. Il importe de comprendre comment, chez l'être urbain, ce sentiment a pu se constituer et comment la ville a permis de maintenir cette habitude par des promenades publiques et des espaces protégés pour le piéton. Se dessine alors une habitude qui encourage l'individu à déambuler, à se mettre en marche, parfois en scène, à entrer dans le grand bal des sociabilités parisiennes. Une identité se construit, avec ses comportements, ses manières d'être, ses regards et sa gestuelle. Le promeneur s'avance, il prend place dans le Paris du XVIIIe siècle, précédant la figure emblématique du siècle suivant, chère à Walter Benjamin : il devient une figure qui définit la capitale française à l'époque moderne.
Le promeneur à Paris au XVIIIe siècle
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Parce qu'on la croit inscrite dans la ville et qu'elle semble apparaître comme une conséquence évidente de ses tracés mêmes (trottoirs, jardins, passages protégés, etc.), la promenade est aujourd'hui conçue comme une pratique ordinaire, normale et convenue. Le promeneur arpente le pavé de Paris. Il trouve plaisir et santé à user ses semelles sur ces dalles qui, dit-on, ne sont faites que pour marcher. Pourtant, se promener dans la ville est un comportement historiquement construit, la cité ne s'est pas toujours offerte au flâneur. Il importe de comprendre comment, chez l'être urbain, ce sentiment a pu se constituer et comment la ville a permis de maintenir cette habitude par des promenades publiques et des espaces protégés pour le piéton. Se dessine alors une habitude qui encourage l'individu à déambuler, à se mettre en marche, parfois en scène, à entrer dans le grand bal des sociabilités parisiennes. Une identité se construit, avec ses comportements, ses manières d'être, ses regards et sa gestuelle. Le promeneur s'avance, il prend place dans le Paris du XVIIIe siècle, précédant la figure emblématique du siècle suivant, chère à Walter Benjamin : il devient une figure qui définit la capitale française à l'époque moderne.
Form:
books
books
Publication:
December 2009
December 2009
Subject:
History until 1900
History until 1900
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books
books
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$70.00
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a(...)
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a(...)
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Blueprint for counter education
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the modernist avant-gardes to postmodernism, from the Bauhaus to Black Mountain College, from Theodor Adorno and Walter Benjamin to Buckminster Fuller and Norman O. Brown—with Herbert Marcuse and Marshall McLuhan serving as points of anchorage. 'Blueprint for Counter Education' thus serves as a vital synthesis of the numerous intellectual currents in the countercultural debate on the radical reform of schools, universities and ways of learning. To accompany this new facsimile edition of the book and posters, an 80-page booklet features a conversation with the original Blueprint creators, Maurice R. Stein, Larry Miller and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin and notes on the design by Adam Michaels of Project Projects.
Blueprint for counter education
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Maurice R. Stein and Larry Miller’s 'Blueprint for Counter Education' is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices—from the modernist avant-gardes to postmodernism, from the Bauhaus to Black Mountain College, from Theodor Adorno and Walter Benjamin to Buckminster Fuller and Norman O. Brown—with Herbert Marcuse and Marshall McLuhan serving as points of anchorage. 'Blueprint for Counter Education' thus serves as a vital synthesis of the numerous intellectual currents in the countercultural debate on the radical reform of schools, universities and ways of learning. To accompany this new facsimile edition of the book and posters, an 80-page booklet features a conversation with the original Blueprint creators, Maurice R. Stein, Larry Miller and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin and notes on the design by Adam Michaels of Project Projects.
Form:
books
books
Publication:
February 2016
February 2016
Subject:
Museology
Museology
Form:
books
books
Title:
Architecture and abstraction
Architecture and abstraction
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from(...)
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from(...)
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Architecture and abstraction
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from the material conditions of building production. In a lively study informed by Walter Benjamin, Karl Marx, Alfred Sohn-Rethel, and other social theorists, Architecture and Abstraction presents abstraction in architecture not as an aesthetic tendency but as a movement that arises from modern divisions of labor and consequent social asymmetries. These divisions were anticipated by the architecture of antiquity, which established a distinction between manual and intellectual labor, and placed the former in service to the latter. Further abstractions arose as geometry, used for measuring territories, became the intermediary between land and money and eventually produced the logic of the grid. In our own time, architectural abstraction serves the logic of capitalism and embraces the premise that all things can be exchanged—even experience itself is a commodity. To resist this turn, Aureli seeks a critique of architecture that begins not by scaling philosophical heights, but by standing at the ground level of material practice.
Architecture and abstraction
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In this theoretical study of abstraction in architecture—the first of its kind—Pier Vittorio Aureli argues for a reconsideration of abstraction, its meanings, and its sources. Although architects have typically interpreted abstraction in formal terms—the purposeful reduction of the complexities of design to its essentials—Aureli shows that abstraction instead arises from the material conditions of building production. In a lively study informed by Walter Benjamin, Karl Marx, Alfred Sohn-Rethel, and other social theorists, Architecture and Abstraction presents abstraction in architecture not as an aesthetic tendency but as a movement that arises from modern divisions of labor and consequent social asymmetries. These divisions were anticipated by the architecture of antiquity, which established a distinction between manual and intellectual labor, and placed the former in service to the latter. Further abstractions arose as geometry, used for measuring territories, became the intermediary between land and money and eventually produced the logic of the grid. In our own time, architectural abstraction serves the logic of capitalism and embraces the premise that all things can be exchanged—even experience itself is a commodity. To resist this turn, Aureli seeks a critique of architecture that begins not by scaling philosophical heights, but by standing at the ground level of material practice.
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books
books
Publication:
May 2023
May 2023
Subject:
Architectural Theory
Architectural Theory
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books
books
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$41.95
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Summary:
Renowned philosopher Susan Buck-Morss collaborates with Kevin McCaughey of Boot Boyz Biz and Adam Michaels of Inventory Press on this experimental image-text renewal of McLuhan, Berger and Benjamin. "Seeing <—> Making: Room for thought" both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage and analogy,(...)
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Renowned philosopher Susan Buck-Morss collaborates with Kevin McCaughey of Boot Boyz Biz and Adam Michaels of Inventory Press on this experimental image-text renewal of McLuhan, Berger and Benjamin. "Seeing <—> Making: Room for thought" both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage and analogy,(...)
Subject:
Design Theory
Design Theory
Publication:
January 2024
January 2024
Title:
Seeing <—> Making: Room for thought
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Renowned philosopher Susan Buck-Morss collaborates with Kevin McCaughey of Boot Boyz Biz and Adam Michaels of Inventory Press on this experimental image-text renewal of McLuhan, Berger and Benjamin. "Seeing <—> Making: Room for thought" both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage and analogy, the book reveals a wide field of view and a space to engage new critical connections between a multiplicity of objects from the past and present. Realized through an intergenerational collaboration of three cultural producers committed to making theory visible, a transformative anthology of critical essays by Susan Buck-Morss anchors this kaleidoscopic project. Images and ideas sync with Buck-Morss’ perceptive texts on visual culture, history, politics and aesthetics, fusing criticism with visual play and linking collective imagination and social action. In both design and content, "Seeing <—> Making: Room for thought" builds upon the dynamic sensorium of Marshall McLuhan and Quentin Fiore's book "The medium is the massage", Walter Benjamin's "Arcades" Project and John Berger's "Ways of seeing". This innovative volume brings Buck-Morss’ more experimental, visually engaged work to the fore in a way that has not been available in the usual contexts within which her writing has appeared.
Seeing <—> Making: Room for thought
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$41.95
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Summary:
Renowned philosopher Susan Buck-Morss collaborates with Kevin McCaughey of Boot Boyz Biz and Adam Michaels of Inventory Press on this experimental image-text renewal of McLuhan, Berger and Benjamin. "Seeing <—> Making: Room for thought" both studies and presents the creative process of constructing ideas with images. By activating the techniques of montage and analogy, the book reveals a wide field of view and a space to engage new critical connections between a multiplicity of objects from the past and present. Realized through an intergenerational collaboration of three cultural producers committed to making theory visible, a transformative anthology of critical essays by Susan Buck-Morss anchors this kaleidoscopic project. Images and ideas sync with Buck-Morss’ perceptive texts on visual culture, history, politics and aesthetics, fusing criticism with visual play and linking collective imagination and social action. In both design and content, "Seeing <—> Making: Room for thought" builds upon the dynamic sensorium of Marshall McLuhan and Quentin Fiore's book "The medium is the massage", Walter Benjamin's "Arcades" Project and John Berger's "Ways of seeing". This innovative volume brings Buck-Morss’ more experimental, visually engaged work to the fore in a way that has not been available in the usual contexts within which her writing has appeared.
Form:
books
books
Publication:
January 2024
January 2024
Subject:
Design Theory
Design Theory
Form:
books
books
Title:
L'empire du kitsch
L'empire du kitsch
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" Art et littérature populaires et commerciaux faits de chromos, de couvertures de magazines, d'illustrations, d'images publicitaires, de littérature à bon marché, de bandes dessinées, de musique de bastringue, de danse à claquettes, de films hollywoodiens, etc. ". C'est ainsi que Clement Greenberg définissait le kitsch. Suffit-il pour autant de dénigrer le kitsch, de le(...)
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" Art et littérature populaires et commerciaux faits de chromos, de couvertures de magazines, d'illustrations, d'images publicitaires, de littérature à bon marché, de bandes dessinées, de musique de bastringue, de danse à claquettes, de films hollywoodiens, etc. ". C'est ainsi que Clement Greenberg définissait le kitsch. Suffit-il pour autant de dénigrer le kitsch, de le(...)
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L'empire du kitsch
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" Art et littérature populaires et commerciaux faits de chromos, de couvertures de magazines, d'illustrations, d'images publicitaires, de littérature à bon marché, de bandes dessinées, de musique de bastringue, de danse à claquettes, de films hollywoodiens, etc. ". C'est ainsi que Clement Greenberg définissait le kitsch. Suffit-il pour autant de dénigrer le kitsch, de le vilipender pour le rendre détestable aux yeux de celui qui, selon l'expression d'Hermann Broch, aime à le " produire " et à le " consommer " quel qu'en soit le prix ? Certes non, car rien, à l'heure où triomphent le libéralisme libertaire et l'individualisme postmoderne, n'est en mesure de freiner son expansion et d'atténuer sa puissance séductrice. Et c'est bien cette offensive que Valérie Arrault tente de démasquer. Subtilement, elle analyse avec humour les rapports parfois ambigus, d'attraction et de répulsion mêlées, qu'exercent le phénomène Las Vegas, le richissime objet transitionnel qu'est la poupée Barbie et Disneyland, ce monde féerique et fantasmatique de Mickey dans lequel, comme le notait déjà Walter Benjamin, l'homme d'aujourd'hui est assuré de ne vivre aucune véritable expérience esthétique et intellectuelle. Mieux encore : l'art contemporain le plus actuel se fait kitsch, comme le montrent les oeuvres et les actions de Jeff Koons ou de Pierre et Gilles, attestant la puissance hégémonique du phénomène et signant ainsi sa victoire planétaire.
L'empire du kitsch
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$43.95
(available to order)
Summary:
" Art et littérature populaires et commerciaux faits de chromos, de couvertures de magazines, d'illustrations, d'images publicitaires, de littérature à bon marché, de bandes dessinées, de musique de bastringue, de danse à claquettes, de films hollywoodiens, etc. ". C'est ainsi que Clement Greenberg définissait le kitsch. Suffit-il pour autant de dénigrer le kitsch, de le vilipender pour le rendre détestable aux yeux de celui qui, selon l'expression d'Hermann Broch, aime à le " produire " et à le " consommer " quel qu'en soit le prix ? Certes non, car rien, à l'heure où triomphent le libéralisme libertaire et l'individualisme postmoderne, n'est en mesure de freiner son expansion et d'atténuer sa puissance séductrice. Et c'est bien cette offensive que Valérie Arrault tente de démasquer. Subtilement, elle analyse avec humour les rapports parfois ambigus, d'attraction et de répulsion mêlées, qu'exercent le phénomène Las Vegas, le richissime objet transitionnel qu'est la poupée Barbie et Disneyland, ce monde féerique et fantasmatique de Mickey dans lequel, comme le notait déjà Walter Benjamin, l'homme d'aujourd'hui est assuré de ne vivre aucune véritable expérience esthétique et intellectuelle. Mieux encore : l'art contemporain le plus actuel se fait kitsch, comme le montrent les oeuvres et les actions de Jeff Koons ou de Pierre et Gilles, attestant la puissance hégémonique du phénomène et signant ainsi sa victoire planétaire.
Form:
books
books
Publication:
May 2010
May 2010
Subject:
Architectural Theory
Architectural Theory
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books
books
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Description:
7 volumes in 8 : illustrations, maps ; 24 cm
Description:
7 volumes in 8 : illustrations, maps ; 24 cm
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Publication:
Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1995-2005.
Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1995-2005.
Title:
The New Cambridge medieval history.
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Description:
7 volumes in 8 : illustrations, maps ; 24 cm
The New Cambridge medieval history.
Actions:
Holdings:
Description:
7 volumes in 8 : illustrations, maps ; 24 cm
Form:
books
books
Publication:
Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1995-2005.
Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1995-2005.
Author:
Subject:
