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Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing(...)
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Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing(...)
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Documentary Across Disciplines
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Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms—essays, personal memoirs, interviews, poetry. Contemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the “documentary turn” of contemporary art. They discuss digital technology and the “crisis of faith” caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for “informatic opacity” as a means of evasion.
Documentary Across Disciplines
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Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of “fly on the wall” immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms—essays, personal memoirs, interviews, poetry. Contemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the “documentary turn” of contemporary art. They discuss digital technology and the “crisis of faith” caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for “informatic opacity” as a means of evasion.
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books
books
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February 2016
February 2016
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books
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los(...)
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los(...)
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Strange new world : art and design from Tijuana
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Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los Angeles but are now staying or returning, and being joined by friends from Mexico City and beyond. This flourishing, strengthening artistic community has responded to the city’s accelerated evolution with a broad range of work, from painting to conceptually driven installations; from street-level digital video to ambitious photo-documentation, filmmaking and political work; from architectural proposals to product design associated with the "Nortec" musical movement. The work gathered in "Strange new world" embraces Tijuana as a paradigm of a new postmodern form of urbanization shaped by the pressures of economic globalization and cultural transnationalism since 1994. It struggles to make sense of new realities changing the ways in which people live in cities around the globe. Like Aldous Huxley's Brave New World, it is part science fiction, part political commentary and part artistic revolution and cultural critique. Arranged around the concepts of the urban theorist Michael Smith, it features work by ERRE, Einar and Jamex de la Torre and Yvonne Venegas, among others.
Strange new world : art and design from Tijuana
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Summary:
Over the past decade, a seismic shift in economic and political forces has transformed life in the second-largest city on the West Coast, situated at the most heavily trafficked international border crossing in the world. Tijuana’s newfound wealth and haphazard expansion have changed patterns of migration for the city’s many artists, who once routinely moved north to Los Angeles but are now staying or returning, and being joined by friends from Mexico City and beyond. This flourishing, strengthening artistic community has responded to the city’s accelerated evolution with a broad range of work, from painting to conceptually driven installations; from street-level digital video to ambitious photo-documentation, filmmaking and political work; from architectural proposals to product design associated with the "Nortec" musical movement. The work gathered in "Strange new world" embraces Tijuana as a paradigm of a new postmodern form of urbanization shaped by the pressures of economic globalization and cultural transnationalism since 1994. It struggles to make sense of new realities changing the ways in which people live in cities around the globe. Like Aldous Huxley's Brave New World, it is part science fiction, part political commentary and part artistic revolution and cultural critique. Arranged around the concepts of the urban theorist Michael Smith, it features work by ERRE, Einar and Jamex de la Torre and Yvonne Venegas, among others.
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books
books
Publication:
August 2006, La Jolla
August 2006, La Jolla
Subject:
Contemporary Art Monographs
Contemporary Art Monographs
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books
books
Title:
Shaping things
Shaping things
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic,(...)
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic,(...)
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Shaping things
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Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic, are not sustainable. The future will see a new kind of object - we have the primitive forms of them now in our pockets and briefcases: user-alterable, baroquely multi-featured, and programmable - that will be sustainable, enhanceable, and uniquely identifiable. Sterling coins the term "spime" for them, these future manufactured objects with informational support so extensive and rich that they are regarded as material instantiations of an immaterial system. Spimes are designed on screens, fabricated by digital means, and precisely tracked through space and time. They are made of substances that can be folded back into the production stream of future spimes, challenging all of us to become involved in their production. Spimes are coming, says Sterling. We will need these objects in order to live; we won't be able to surrender their advantages without awful consequences. The vision of ‘Shaping Things’ is given material form by the intricate design of Lorraine Wild. ‘Shaping Things’ is for designers and thinkers, engineers and scientists, entrepreneurs and financiers - and anyone who wants to understand and be part of the process of techno-social transformation.
Shaping things
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Summary:
Sterling offers a brilliant, often hilarious history of shaped things. We have moved from an age of artefacts, made by hand, through complex machines, to the current era of "gizmos." New forms of design and manufacture are appearing that lack historical precedent, he writes; but the production methods, using archaic forms of energy and materials that are finite and toxic, are not sustainable. The future will see a new kind of object - we have the primitive forms of them now in our pockets and briefcases: user-alterable, baroquely multi-featured, and programmable - that will be sustainable, enhanceable, and uniquely identifiable. Sterling coins the term "spime" for them, these future manufactured objects with informational support so extensive and rich that they are regarded as material instantiations of an immaterial system. Spimes are designed on screens, fabricated by digital means, and precisely tracked through space and time. They are made of substances that can be folded back into the production stream of future spimes, challenging all of us to become involved in their production. Spimes are coming, says Sterling. We will need these objects in order to live; we won't be able to surrender their advantages without awful consequences. The vision of ‘Shaping Things’ is given material form by the intricate design of Lorraine Wild. ‘Shaping Things’ is for designers and thinkers, engineers and scientists, entrepreneurs and financiers - and anyone who wants to understand and be part of the process of techno-social transformation.
Form:
books
books
Publication:
September 2005, Cambridge, Massachusetts
September 2005, Cambridge, Massachusetts
Subject:
Design Theory
Design Theory
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books
books
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Title:
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Form:
books
books
Publication:
April 2002, Cambridge, Mass.
April 2002, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
Form:
books
books
Price:
$49.50
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Summary:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
$49.50
(available to order)
Summary:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Title:
Warped space : art, architecture, and anxiety in modern culture
Actions:
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$49.50
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Summary:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
Actions:
Price:
$49.50
(available to order)
Summary:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Form:
books
books
Publication:
June 2000, Cambridge, Mass.
June 2000, Cambridge, Mass.
Subject:
Architectural Theory
Architectural Theory
