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The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of(...)
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Résumé:
The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of(...)
Titre:
Guerrilla networks: an anarchaeology of 1970s radical media ecologies
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The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups and autonomous movements, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices.
Guerrilla networks: an anarchaeology of 1970s radical media ecologies
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The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups and autonomous movements, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices.
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janvier 2018
janvier 2018
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Théorie de l’art
Théorie de l’art
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vidéo
vidéo
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Green before green.
Green before green.
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1 videodisc (DVD-R) (approximately 57 min.) : sound, color ; 12 cm consultation copy, 1 videocassette (Mini-DV) (approximately 57 min.) : sound, color ; 1/4 in. master
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1 videodisc (DVD-R) (approximately 57 min.) : sound, color ; 12 cm consultation copy, 1 videocassette (Mini-DV) (approximately 57 min.) : sound, color ; 1/4 in. master
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[2007]
[2007]
Titre:
Green before green.
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1 videodisc (DVD-R) (approximately 57 min.) : sound, color ; 12 cm consultation copy, 1 videocassette (Mini-DV) (approximately 57 min.) : sound, color ; 1/4 in. master
Green before green.
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[2007]
[2007]
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Lisette Model / Ann Thomas.
Lisette Model / Ann Thomas.
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362 pages : illustrations ; 30 cm
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362 pages : illustrations ; 30 cm
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Ottawa, Ont. : National Gallery of Canada, 1990.
Ottawa, Ont. : National Gallery of Canada, 1990.
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Lisette Model / Ann Thomas.
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362 pages : illustrations ; 30 cm
Lisette Model / Ann Thomas.
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362 pages : illustrations ; 30 cm
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Ottawa, Ont. : National Gallery of Canada, 1990.
Ottawa, Ont. : National Gallery of Canada, 1990.
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317 pages illustrations (some color), portraits, plans 31 cm
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317 pages illustrations (some color), portraits, plans 31 cm
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Stuttgart, A. Koch [1956]
Stuttgart, A. Koch [1956]
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Life and human habitat. Mensch und Wohnen.
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317 pages illustrations (some color), portraits, plans 31 cm
Life and human habitat. Mensch und Wohnen.
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317 pages illustrations (some color), portraits, plans 31 cm
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Stuttgart, A. Koch [1956]
Stuttgart, A. Koch [1956]
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komputer_love.
komputer_love.
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1 streaming video file (1 hr., 31 min., 59 sec.) : sound, colour
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[Montréal] : CCA, [2013]
[Montréal] : CCA, [2013]
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komputer_love.
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1 streaming video file (1 hr., 31 min., 59 sec.) : sound, colour
komputer_love.
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[Montréal] : CCA, [2013]
[Montréal] : CCA, [2013]
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audio
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Gary Hill.
Gary Hill.
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[Place of publication not identified] : Art and Obsolescence, 2022.
[Place of publication not identified] : Art and Obsolescence, 2022.
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audio
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[Place of publication not identified] : Art and Obsolescence, 2022.
[Place of publication not identified] : Art and Obsolescence, 2022.
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1 volume (unpaged) : illustrations, facsimile ; 15 cm
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1 volume (unpaged) : illustrations, facsimile ; 15 cm
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Leipzig : Spectormag GbR, ©2017.
Leipzig : Spectormag GbR, ©2017.
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Space colonies : a galactic freeman's journal / Fabian Reimann.
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1 volume (unpaged) : illustrations, facsimile ; 15 cm
Space colonies : a galactic freeman's journal / Fabian Reimann.
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Leipzig : Spectormag GbR, ©2017.
Leipzig : Spectormag GbR, ©2017.
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256 pages : illustrations (some color) ; 31 cm
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256 pages : illustrations (some color) ; 31 cm
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New York : Abrams, 1994.
New York : Abrams, 1994.
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The papered wall : history, pattern, technique / edited by Lesley Hoskins.
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256 pages : illustrations (some color) ; 31 cm
The papered wall : history, pattern, technique / edited by Lesley Hoskins.
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256 pages : illustrations (some color) ; 31 cm
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New York : Abrams, 1994.
New York : Abrams, 1994.
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159 pages ; 18 cm.
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159 pages ; 18 cm.
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London : Architectural Association, [2009], ©2009
London : Architectural Association, [2009], ©2009
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London : Architectural Association, [2009], ©2009
London : Architectural Association, [2009], ©2009
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''I used my first camera, an Asahi Pentax Spotmatic with 20-, 28-, 50-, 135- and 300mm Super Takumar lenses, until I bought a Leica M4 in 1971. From then on I used the Leica with 35- and 50mm Summicron lenses exclusively. I printed only very rarely and very little, and for the next forty-odd years I had these photographs, taken in 1968-77, only in the form of contact(...)
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''I used my first camera, an Asahi Pentax Spotmatic with 20-, 28-, 50-, 135- and 300mm Super Takumar lenses, until I bought a Leica M4 in 1971. From then on I used the Leica with 35- and 50mm Summicron lenses exclusively. I printed only very rarely and very little, and for the next forty-odd years I had these photographs, taken in 1968-77, only in the form of contact(...)
Titre:
Dragan Novakovic: Manchester & Oldham 1970s
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''I used my first camera, an Asahi Pentax Spotmatic with 20-, 28-, 50-, 135- and 300mm Super Takumar lenses, until I bought a Leica M4 in 1971. From then on I used the Leica with 35- and 50mm Summicron lenses exclusively. I printed only very rarely and very little, and for the next forty-odd years I had these photographs, taken in 1968-77, only in the form of contact sheets. Thanks to digital, I saw them properly as 'enlargements' for the first time in 2012 after I had scanned the negatives and post-processed the files.'' - DN Dragan Novakovic is a Serbian photographer born in 1946. He bought his first camera in 1968 and taught himself to develop and print. He photographed London and Northern England, mostly as a hobby.
Dragan Novakovic: Manchester & Oldham 1970s
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''I used my first camera, an Asahi Pentax Spotmatic with 20-, 28-, 50-, 135- and 300mm Super Takumar lenses, until I bought a Leica M4 in 1971. From then on I used the Leica with 35- and 50mm Summicron lenses exclusively. I printed only very rarely and very little, and for the next forty-odd years I had these photographs, taken in 1968-77, only in the form of contact sheets. Thanks to digital, I saw them properly as 'enlargements' for the first time in 2012 after I had scanned the negatives and post-processed the files.'' - DN Dragan Novakovic is a Serbian photographer born in 1946. He bought his first camera in 1968 and taught himself to develop and print. He photographed London and Northern England, mostly as a hobby.
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livres
livres
Publication:
janvier 2020
janvier 2020
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Monographies photo
Monographies photo
