1737 Résultats
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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(...)
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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.
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livres
livres
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janvier 2008, Durham, London
janvier 2008, Durham, London
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Théorie de l’urbanisme
Théorie de l’urbanisme
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$48.00
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The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past(...)
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The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past(...)
Sujet:
Théorie de l’architecture
Théorie de l’architecture
Publication:
janvier 2006, Cambridge, Mass.
janvier 2006, Cambridge, Mass.
Titre:
Built upon love : architectural longing after ethics and aesthetics
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The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell- one that lovingly provides a sense of order resonant with our dreams. In "Built upon love" Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics - between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia - the love of friends that entails mutual responsibility among equals - and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.
Built upon love : architectural longing after ethics and aesthetics
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$48.00
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The forced polarity between form and function in considerations of architecture - opposing art to social interests, ethics to poetic expression - obscures the deep connections between ethical and poetical values in architectural tradition. Architecture has been, and must continue to be, writes Alberto Pérez-Gómez, built upon love. Modernity has rightly rejected past architectural excesses, but, Pérez-Gómez argues, the materialistic and technological alternatives it proposes do not answer satisfactorily the complex desire that defines humanity. True architecture is concerned with far more than fashionable form, affordable homes, and sustainable development; it responds to a desire for an eloquent place to dwell- one that lovingly provides a sense of order resonant with our dreams. In "Built upon love" Pérez-Gómez uncovers the relationship between love and architecture in order to find the points of contact between poetics and ethics - between the architect's wish to design a beautiful world and architecture's imperative to provide a better place for society. Eros, as first imagined by the early lyric poets of classical Greece, is the invisible force at the root of our capacity to create and comprehend the poetic image. Pérez-Gómez examines the nature of architectural form in the light of eros, seduction, and the tradition of the poetic image in Western architecture. He charts the ethical dimension of architecture, tracing the connections between philia - the love of friends that entails mutual responsibility among equals - and architectural program. He explores the position of architecture at the limits of language and discusses the analogical language of philia in modernist architectural theory. Finally, he uncovers connections between ethics and poetics, describing a contemporary practice of architecture under the sign of love, incorporating both eros and philia.
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livres
livres
Publication:
janvier 2006, Cambridge, Mass.
janvier 2006, Cambridge, Mass.
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Théorie de l’architecture
Théorie de l’architecture
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livres
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$67.95
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The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration(...)
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The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration(...)
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Dreamworld and catastrophe : the passing of mass utopia in East and West
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The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to political cynicism. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. She shows how dreamworlds became dangerous when their energy was used by the structures of power as an instrument of force against the masses. Stressing the similarities between the East and West and using the end of the Cold War as her point of departure, she examines both extremes of mass utopia, dreamworld and catastrophe. The book is in four parts. "Dreamworlds of Democracy" asks whether collective sovereignty can ever be democratic. "Dreamworlds of History" calls for a rethinking of revolution by political and artistic avant-gardes. "Dreamworlds of Mass Culture" explores the affinities between mass culture's socialist and capitalist forms. An "Afterward" places the book in the historical context of the author's collaboration with a group of Moscow philosophers and artists over the past two tumultuous decades. The book is an experiment in visual culture, using images as philosophy, presenting, literally, a way of seeing the past. Its pictorial narratives rescue historical data that with the end of the Cold War are threatened with oblivion and challenge common conceptions of what this century was all about.
Dreamworld and catastrophe : the passing of mass utopia in East and West
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The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to political cynicism. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. She shows how dreamworlds became dangerous when their energy was used by the structures of power as an instrument of force against the masses. Stressing the similarities between the East and West and using the end of the Cold War as her point of departure, she examines both extremes of mass utopia, dreamworld and catastrophe. The book is in four parts. "Dreamworlds of Democracy" asks whether collective sovereignty can ever be democratic. "Dreamworlds of History" calls for a rethinking of revolution by political and artistic avant-gardes. "Dreamworlds of Mass Culture" explores the affinities between mass culture's socialist and capitalist forms. An "Afterward" places the book in the historical context of the author's collaboration with a group of Moscow philosophers and artists over the past two tumultuous decades. The book is an experiment in visual culture, using images as philosophy, presenting, literally, a way of seeing the past. Its pictorial narratives rescue historical data that with the end of the Cold War are threatened with oblivion and challenge common conceptions of what this century was all about.
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livres
livres
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janvier 1900, Cambridge
janvier 1900, Cambridge
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Théorie de l’architecture
Théorie de l’architecture
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audio
audio
Titre:
Pardon My French.
Pardon My French.
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1 online resource.
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[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
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audio
audio
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[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
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Architects house themselves : breaking new ground / Michael Webb ; foreword by J. Carter Brown.
Architects house themselves : breaking new ground / Michael Webb ; foreword by J. Carter Brown.
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224 pages : illustrations (some color) ; 29 cm
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224 pages : illustrations (some color) ; 29 cm
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Washington, D.C. : Preservation Press, National Trust for Historic Preservation, ©1994.
Washington, D.C. : Preservation Press, National Trust for Historic Preservation, ©1994.
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Architects house themselves : breaking new ground / Michael Webb ; foreword by J. Carter Brown.
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224 pages : illustrations (some color) ; 29 cm
Architects house themselves : breaking new ground / Michael Webb ; foreword by J. Carter Brown.
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224 pages : illustrations (some color) ; 29 cm
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Washington, D.C. : Preservation Press, National Trust for Historic Preservation, ©1994.
Washington, D.C. : Preservation Press, National Trust for Historic Preservation, ©1994.
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vii, 286 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
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vii, 286 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
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Chicago ; London : The University of Chicago Press, 1990., ©1990
Chicago ; London : The University of Chicago Press, 1990., ©1990
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All things new : American communes and utopian movements, 1860-1914 / Robert S. Fogarty.
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vii, 286 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
All things new : American communes and utopian movements, 1860-1914 / Robert S. Fogarty.
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vii, 286 pages, 16 unnumbered pages of plates : illustrations ; 24 cm
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Chicago ; London : The University of Chicago Press, 1990., ©1990
Chicago ; London : The University of Chicago Press, 1990., ©1990
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151 pages : chiefly illustrations ; 28 cm
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151 pages : chiefly illustrations ; 28 cm
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Santa Monica, CA : Foggy Notion Books, 2013., New York, NY : ARTBOOK/D.A.P.
Santa Monica, CA : Foggy Notion Books, 2013., New York, NY : ARTBOOK/D.A.P.
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Detroit 1968 / photographs by Enrico Natali ; with an essay by Mark Binelli.
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151 pages : chiefly illustrations ; 28 cm
Detroit 1968 / photographs by Enrico Natali ; with an essay by Mark Binelli.
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151 pages : chiefly illustrations ; 28 cm
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Santa Monica, CA : Foggy Notion Books, 2013., New York, NY : ARTBOOK/D.A.P.
Santa Monica, CA : Foggy Notion Books, 2013., New York, NY : ARTBOOK/D.A.P.
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$59.95
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The book reproduces a series of the collages made by David Wild. Their subject is modern architecture in the first half of the twentieth century: in the Netherlands, in Russia, and in the work of Le Corbusier. The method of the book is to show a collage on a right-hand page; then on the facing page is a (...)
$59.95
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The book reproduces a series of the collages made by David Wild. Their subject is modern architecture in the first half of the twentieth century: in the Netherlands, in Russia, and in the work of Le Corbusier. The method of the book is to show a collage on a right-hand page; then on the facing page is a (...)
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Fragments of utopia: collage reflections of heroic modernism
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$59.95
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The book reproduces a series of the collages made by David Wild. Their subject is modern architecture in the first half of the twentieth century: in the Netherlands, in Russia, and in the work of Le Corbusier. The method of the book is to show a collage on a right-hand page; then on the facing page is a prose commentary by Wild and supporting smaller images. Introducing the book, David Wild explains that the impulse for this work lies in the aftermath of a fire in his house: his scorched books lent themselves to collage. He goes on to sketch the cultural-political climate in Britain over the last 40 years: the backdrop to his work as an architect and (less directly) to this book. In the opening section on the Netherlands, the leading theme is an architecture of social equity and continuity. Rooted in old cultural traditions, and in the particular ‘football-pitch’ landscape of the country, modern architecture could realise some of its dreams in everyday buildings. Postage stamps play an active part in many of the book’s collages, and especially in this section: the design of stamps flourished in the Netherlands, through the enlightened patronage of the Dutch post office — with several architects designing stamps too. Politics and history come to prominence in the Russian section, as a motivating force in the work of the early 1920s, and then as a heavy burden — with the onset of totalitarian control and repression. At the centre of the discussion here is the architecture of constructivism: formally brilliant, but with a clear social programme. Flight and the exploration of space are recurring topics in this section, as another and particularly Russian dimension of utopian striving The work of Le Corbusier, in Europe, North and South America, Russia and India, is treated in the third section. Le Corbusier is presented as a brilliant artist, a master architect of the greatest skill and the greatest ambition — and without scruple in pursuing commissions. The images and text follow him into the years after the Second World War, culminating in the work in India. Here there is a vision of another kind of politics, of co-operation and non-violence.
Fragments of utopia: collage reflections of heroic modernism
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$59.95
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The book reproduces a series of the collages made by David Wild. Their subject is modern architecture in the first half of the twentieth century: in the Netherlands, in Russia, and in the work of Le Corbusier. The method of the book is to show a collage on a right-hand page; then on the facing page is a prose commentary by Wild and supporting smaller images. Introducing the book, David Wild explains that the impulse for this work lies in the aftermath of a fire in his house: his scorched books lent themselves to collage. He goes on to sketch the cultural-political climate in Britain over the last 40 years: the backdrop to his work as an architect and (less directly) to this book. In the opening section on the Netherlands, the leading theme is an architecture of social equity and continuity. Rooted in old cultural traditions, and in the particular ‘football-pitch’ landscape of the country, modern architecture could realise some of its dreams in everyday buildings. Postage stamps play an active part in many of the book’s collages, and especially in this section: the design of stamps flourished in the Netherlands, through the enlightened patronage of the Dutch post office — with several architects designing stamps too. Politics and history come to prominence in the Russian section, as a motivating force in the work of the early 1920s, and then as a heavy burden — with the onset of totalitarian control and repression. At the centre of the discussion here is the architecture of constructivism: formally brilliant, but with a clear social programme. Flight and the exploration of space are recurring topics in this section, as another and particularly Russian dimension of utopian striving The work of Le Corbusier, in Europe, North and South America, Russia and India, is treated in the third section. Le Corbusier is presented as a brilliant artist, a master architect of the greatest skill and the greatest ambition — and without scruple in pursuing commissions. The images and text follow him into the years after the Second World War, culminating in the work in India. Here there is a vision of another kind of politics, of co-operation and non-violence.
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livres
livres
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janvier 1900, London
janvier 1900, London
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197 pages illustrations, maps, plans 29 cm
Description:
197 pages illustrations, maps, plans 29 cm
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Chicago, P. Theobald, 1949.
Chicago, P. Theobald, 1949.
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The new regional pattern; industries and gardens, workshops and farms.
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197 pages illustrations, maps, plans 29 cm
The new regional pattern; industries and gardens, workshops and farms.
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197 pages illustrations, maps, plans 29 cm
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Chicago, P. Theobald, 1949.
Chicago, P. Theobald, 1949.
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TVA : democracy on the march / by David E. Lilienthal ; Chairman, Tennessee Valley Authority.
TVA : democracy on the march / by David E. Lilienthal ; Chairman, Tennessee Valley Authority.
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vi pages, 2 unnumbered pages, 247 pages, 1 unnumbered page : illustrations, map, portraits ; 17 cm.
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vi pages, 2 unnumbered pages, 247 pages, 1 unnumbered page : illustrations, map, portraits ; 17 cm.
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New York, N.Y. : Pocket Books, Inc., 1945., ©1944
New York, N.Y. : Pocket Books, Inc., 1945., ©1944
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TVA : democracy on the march / by David E. Lilienthal ; Chairman, Tennessee Valley Authority.
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vi pages, 2 unnumbered pages, 247 pages, 1 unnumbered page : illustrations, map, portraits ; 17 cm.
TVA : democracy on the march / by David E. Lilienthal ; Chairman, Tennessee Valley Authority.
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vi pages, 2 unnumbered pages, 247 pages, 1 unnumbered page : illustrations, map, portraits ; 17 cm.
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livres
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New York, N.Y. : Pocket Books, Inc., 1945., ©1944
New York, N.Y. : Pocket Books, Inc., 1945., ©1944
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