221 Résultats
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Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, COVID-19, decapitated mountains, drone-fighting eagles, standardized bananas: all of these specimens—some more familiar than others—are examples of the hybridity that shapes the current landscapes of science, technology and everyday life. Inspired by medieval bestiaries and the(...)
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Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, COVID-19, decapitated mountains, drone-fighting eagles, standardized bananas: all of these specimens—some more familiar than others—are examples of the hybridity that shapes the current landscapes of science, technology and everyday life. Inspired by medieval bestiaries and the(...)
Titre:
A bestiary of the Anthropocene. Hybrid plants, animals, minerals, fungi, and other specimens
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Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, COVID-19, decapitated mountains, drone-fighting eagles, standardized bananas: all of these specimens—some more familiar than others—are examples of the hybridity that shapes the current landscapes of science, technology and everyday life. Inspired by medieval bestiaries and the increasingly visible effects of climate change on the planet, French researcher Nicolas Nova & art collective DISNOVATION.ORG provide an ethnographic guide to the ''post-natural'' era in which we live, highlighting the amalgamations of nature and artifice that already co-exist in the 21st century. A sort of field handbook, ''A bestiary of the Anthropocene'' aims to help us orient ourselves within the technosphere and the biosphere. What happens when technologies and their unintended consequences become so ubiquitous that it is difficult to define what is “natural” or not? What does it mean to live in a hybrid environment made of organic and synthetic matter? In order to answer such questions, Nova & DISNOVATION.ORG bring their own research together with contributions from collectives such as the Center for Genomic Gastronomy and Aliens in Green as well as text by scholars and researchers from around the world. Polish graphic designer Maria Roszkowska provides illustrations.
A bestiary of the Anthropocene. Hybrid plants, animals, minerals, fungi, and other specimens
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Plastiglomerates, surveillance robot dogs, fordite, artificial grass, antenna trees, COVID-19, decapitated mountains, drone-fighting eagles, standardized bananas: all of these specimens—some more familiar than others—are examples of the hybridity that shapes the current landscapes of science, technology and everyday life. Inspired by medieval bestiaries and the increasingly visible effects of climate change on the planet, French researcher Nicolas Nova & art collective DISNOVATION.ORG provide an ethnographic guide to the ''post-natural'' era in which we live, highlighting the amalgamations of nature and artifice that already co-exist in the 21st century. A sort of field handbook, ''A bestiary of the Anthropocene'' aims to help us orient ourselves within the technosphere and the biosphere. What happens when technologies and their unintended consequences become so ubiquitous that it is difficult to define what is “natural” or not? What does it mean to live in a hybrid environment made of organic and synthetic matter? In order to answer such questions, Nova & DISNOVATION.ORG bring their own research together with contributions from collectives such as the Center for Genomic Gastronomy and Aliens in Green as well as text by scholars and researchers from around the world. Polish graphic designer Maria Roszkowska provides illustrations.
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livres
livres
Publication:
mai 2021
mai 2021
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livres
livres
Titre:
The Urban Archetypes of Jane Jacobs and Ebenezer Howard: Contradiction and meaning in city form
The Urban Archetypes of Jane Jacobs and Ebenezer Howard: Contradiction and meaning in city form
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Ebenezer Howard, an Englishman, and Jane Jacobs, a naturalized Canadian, personify the twentieth century’s opposing outlooks on cities. Howard had envisaged small towns, newly built from scratch, fashioned on single family homes with small gardens. Jacobs embraced existing inner-city neighbourhoods emphasizing the verve of the living street. From Howard’s idea, the(...)
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Ebenezer Howard, an Englishman, and Jane Jacobs, a naturalized Canadian, personify the twentieth century’s opposing outlooks on cities. Howard had envisaged small towns, newly built from scratch, fashioned on single family homes with small gardens. Jacobs embraced existing inner-city neighbourhoods emphasizing the verve of the living street. From Howard’s idea, the(...)
Titre:
The Urban Archetypes of Jane Jacobs and Ebenezer Howard: Contradiction and meaning in city form
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Ebenezer Howard, an Englishman, and Jane Jacobs, a naturalized Canadian, personify the twentieth century’s opposing outlooks on cities. Howard had envisaged small towns, newly built from scratch, fashioned on single family homes with small gardens. Jacobs embraced existing inner-city neighbourhoods emphasizing the verve of the living street. From Howard’s idea, the American Dream of garden suburbs had emerged, yet his conceptualization of a modern city received criticism for being uniform and alienated from the rest of the city. Similarly, at the turn of the new century, Jacobs’ inner-city neighbourhoods came to be recognized as the result of commodification, vacillating between poverty and newly discovered hubs of urban authenticity. Presenting Howard and Jacobs within a psychocultural context, ''The urban archetypes of Jane Jacobs and Ebenezer Howard'' addresses our urban crisis in the recognition that ''city form'' is a gendered, allegorical medium expressing femininity and masculinity within two founding features of the built environment: void and volume. Both founding contrasts bring tensions, but also the opportunities of fusion between pairs of urban polarities: human scale against superscale, gait against speed, and spontaneity against surveillance. Jacobs and Howard, in their respective attitudes, have come to embrace the two ancient archetypes, the Garden and the Citadel, leaving it to future generations to blend their two contrarian stances.
The Urban Archetypes of Jane Jacobs and Ebenezer Howard: Contradiction and meaning in city form
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Résumé:
Ebenezer Howard, an Englishman, and Jane Jacobs, a naturalized Canadian, personify the twentieth century’s opposing outlooks on cities. Howard had envisaged small towns, newly built from scratch, fashioned on single family homes with small gardens. Jacobs embraced existing inner-city neighbourhoods emphasizing the verve of the living street. From Howard’s idea, the American Dream of garden suburbs had emerged, yet his conceptualization of a modern city received criticism for being uniform and alienated from the rest of the city. Similarly, at the turn of the new century, Jacobs’ inner-city neighbourhoods came to be recognized as the result of commodification, vacillating between poverty and newly discovered hubs of urban authenticity. Presenting Howard and Jacobs within a psychocultural context, ''The urban archetypes of Jane Jacobs and Ebenezer Howard'' addresses our urban crisis in the recognition that ''city form'' is a gendered, allegorical medium expressing femininity and masculinity within two founding features of the built environment: void and volume. Both founding contrasts bring tensions, but also the opportunities of fusion between pairs of urban polarities: human scale against superscale, gait against speed, and spontaneity against surveillance. Jacobs and Howard, in their respective attitudes, have come to embrace the two ancient archetypes, the Garden and the Citadel, leaving it to future generations to blend their two contrarian stances.
Classification:
livres
livres
Publication:
janvier 2020
janvier 2020
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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A manifesto for the Open City: vibrant, disordered, adaptable. In 1970 Richard Sennett published the ground breaking ''The uses of disorder,'' that the ideal of a planned and ordered city was flawed, likely to produce a fragile, restrictive urban environment. Fifty years later, Sennett returns to these still fertile ideas and alongside campaigner and architect, Pablo(...)
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A manifesto for the Open City: vibrant, disordered, adaptable. In 1970 Richard Sennett published the ground breaking ''The uses of disorder,'' that the ideal of a planned and ordered city was flawed, likely to produce a fragile, restrictive urban environment. Fifty years later, Sennett returns to these still fertile ideas and alongside campaigner and architect, Pablo(...)
Titre:
Designing disorder: experiments and disruptions in the city
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A manifesto for the Open City: vibrant, disordered, adaptable. In 1970 Richard Sennett published the ground breaking ''The uses of disorder,'' that the ideal of a planned and ordered city was flawed, likely to produce a fragile, restrictive urban environment. Fifty years later, Sennett returns to these still fertile ideas and alongside campaigner and architect, Pablo Sendra, sets out an agenda for the design and ethics of the Open City. The public spaces of our cities are under siege from planners, privatisation and increased surveillance. Our streets are becoming ever more lifeless and ordered. What is to be done? Can disorder be designed? Is it possible to maintain the public realm as a flexible space that adapts over time? In this provocative essay Sendra and Sennett propose a reorganisation of how we think and plan the social life of our cities. What the authors call 'Infrastructures of disorder' combine architecture, politics, urban planning and activism in order to develop places that nurture rather than stifle, bring together rather than divide up, remain open to change rather than closed off. The book proves that ideas of disorder are still some of the most radical and transformative in debates on 21st century cities.
Designing disorder: experiments and disruptions in the city
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A manifesto for the Open City: vibrant, disordered, adaptable. In 1970 Richard Sennett published the ground breaking ''The uses of disorder,'' that the ideal of a planned and ordered city was flawed, likely to produce a fragile, restrictive urban environment. Fifty years later, Sennett returns to these still fertile ideas and alongside campaigner and architect, Pablo Sendra, sets out an agenda for the design and ethics of the Open City. The public spaces of our cities are under siege from planners, privatisation and increased surveillance. Our streets are becoming ever more lifeless and ordered. What is to be done? Can disorder be designed? Is it possible to maintain the public realm as a flexible space that adapts over time? In this provocative essay Sendra and Sennett propose a reorganisation of how we think and plan the social life of our cities. What the authors call 'Infrastructures of disorder' combine architecture, politics, urban planning and activism in order to develop places that nurture rather than stifle, bring together rather than divide up, remain open to change rather than closed off. The book proves that ideas of disorder are still some of the most radical and transformative in debates on 21st century cities.
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livres
livres
Publication:
avril 2020
avril 2020
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
Titre:
What comes after farce?
What comes after farce?
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If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President(...)
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If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President(...)
Titre:
What comes after farce?
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If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? 'What Comes After Farce?' comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are “machine vision” (images produced by machines for other machines without a human interface),“operational images” (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.
What comes after farce?
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If farce follows tragedy, what follows farce? Where does the double predicament of a post-truth and post-shame politics leave artists and critics on the left? How to demystify a hegemonic order that dismisses its own contradictions? How to belittle a political elite that cannot be embarrassed, or to mock party leaders who thrive on the absurd? How to out-dada President Ubu? And, in any event, why add outrage to a media economy that thrives on the same? 'What Comes After Farce?' comments on shifts in art, criticism, and fiction in the face of the current regime of war, surveillance, extreme inequality, and media disruption. A first section focuses on the cultural politics of emergency since 9/11, including the use and abuse of trauma, paranoia, and kitsch. A second reviews the neoliberal makeover of art institutions during the same period. Finally, a third section surveys transformations in media as reflected in recent art, film, and fiction. Among the phenomena explored here are “machine vision” (images produced by machines for other machines without a human interface),“operational images” (images that do not represent the world so much as intervene in it), and the algorithmic scripting of information so pervasive in our everyday lives.
Classification:
livres
livres
Publication:
juin 2020
juin 2020
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
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Quoi de plus iconoclaste qu’un herbier composé entre quatre murs, sans l’étendue de la nature? Comme une contradiction dans les termes. « L’herbier de prison » de Rosa Luxemburg est une archive sans équivalent. Troublante et attachante, sa fragilité et son histoire en font un témoignage de résistance et d’évasion, une fabrique de formes et de joie, un document sur le(...)
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Quoi de plus iconoclaste qu’un herbier composé entre quatre murs, sans l’étendue de la nature? Comme une contradiction dans les termes. « L’herbier de prison » de Rosa Luxemburg est une archive sans équivalent. Troublante et attachante, sa fragilité et son histoire en font un témoignage de résistance et d’évasion, une fabrique de formes et de joie, un document sur le(...)
Titre:
Herbier de prison : 1915-1918
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Quoi de plus iconoclaste qu’un herbier composé entre quatre murs, sans l’étendue de la nature? Comme une contradiction dans les termes. « L’herbier de prison » de Rosa Luxemburg est une archive sans équivalent. Troublante et attachante, sa fragilité et son histoire en font un témoignage de résistance et d’évasion, une fabrique de formes et de joie, un document sur le sentiment politique de la nature, fondement de toute écologie. Composé de sept cahiers datés d’avril 1915 à octobre 1918, l’herbier a pu être réalisé par la révolutionnaire emprisonnée grâce à l’amitié sans faille de quelques femmes, ses amies intimes dont la féministe Clara Zetkin. Au-delà des quelques fleurs et mauvaises herbes de la cour de la prison que Rosa glane lorsqu’elle sort sous surveillance, ce sont ses proches qui lui envoyèrent par lettres des spécimens séchés ou des bouquets fleurs fraîches qu’elle-même pressait. Aux planches de l’herbier répondent ainsi tout une correspondance où il est question de botanique, de nature, de romantisme allemand, d’amour de toutes créatures, et cela, « en dépit de l’humanité ». Rosa Luxemburg ne cesse d’encourager ses proches à garder leur joie de vivre et leur gaieté alors que les nuages qu’elle entraperçoit par une fenêtre à barreaux se chargent des couleurs de la guerre et de l’acier.
Herbier de prison : 1915-1918
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Quoi de plus iconoclaste qu’un herbier composé entre quatre murs, sans l’étendue de la nature? Comme une contradiction dans les termes. « L’herbier de prison » de Rosa Luxemburg est une archive sans équivalent. Troublante et attachante, sa fragilité et son histoire en font un témoignage de résistance et d’évasion, une fabrique de formes et de joie, un document sur le sentiment politique de la nature, fondement de toute écologie. Composé de sept cahiers datés d’avril 1915 à octobre 1918, l’herbier a pu être réalisé par la révolutionnaire emprisonnée grâce à l’amitié sans faille de quelques femmes, ses amies intimes dont la féministe Clara Zetkin. Au-delà des quelques fleurs et mauvaises herbes de la cour de la prison que Rosa glane lorsqu’elle sort sous surveillance, ce sont ses proches qui lui envoyèrent par lettres des spécimens séchés ou des bouquets fleurs fraîches qu’elle-même pressait. Aux planches de l’herbier répondent ainsi tout une correspondance où il est question de botanique, de nature, de romantisme allemand, d’amour de toutes créatures, et cela, « en dépit de l’humanité ». Rosa Luxemburg ne cesse d’encourager ses proches à garder leur joie de vivre et leur gaieté alors que les nuages qu’elle entraperçoit par une fenêtre à barreaux se chargent des couleurs de la guerre et de l’acier.
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livres
livres
Publication:
juin 2025
juin 2025
Sujet:
Expositions en cours
Expositions en cours
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livres
livres
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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(...)
Publication:
février 2016
février 2016
Titre:
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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livres
livres
Publication:
février 2016
février 2016
Classification:
livres
livres
Titre:
Mårten Lange: Ghost witness
Mårten Lange: Ghost witness
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China has a rich tradition of ghost stories and supernatural beliefs. There are tales of ghosts that can shape-shift, or turn into air, or pure darkness or light. In ''Ghost witness,'' Mårten Lange tells the story of a country rushing towards the future with the past following silently behind, like a spectre in the smog. In his time in China, Lange visited urban(...)
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China has a rich tradition of ghost stories and supernatural beliefs. There are tales of ghosts that can shape-shift, or turn into air, or pure darkness or light. In ''Ghost witness,'' Mårten Lange tells the story of a country rushing towards the future with the past following silently behind, like a spectre in the smog. In his time in China, Lange visited urban(...)
Titre:
Mårten Lange: Ghost witness
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China has a rich tradition of ghost stories and supernatural beliefs. There are tales of ghosts that can shape-shift, or turn into air, or pure darkness or light. In ''Ghost witness,'' Mårten Lange tells the story of a country rushing towards the future with the past following silently behind, like a spectre in the smog. In his time in China, Lange visited urban metropolises that have expanded rapidly in recent years, as a result of hyper-accelerated growth and development. Walking through these megacities, Lange explores the bleeding edge between rationalised urban planning and messy everyday lives. ''Ghost witness'' engages with the unique quality of light in the urban environment, where the sun filters through the polluted air and the vast arrays of LEDs twinkle in the rain – revealing the world indirectly, like a mirror. The images in ''Ghost witness'' inhabit and replicate the machine-like rational logic of the grid to interrogate overlaps and fissures between architecture, technology, surveillance and the future. Lange’s precise photographs often describe those fissures: indecipherable codes, broken windows, decay and entropy within the order of glass and steel. Suspended in a liminal state between constant construction and expansion, Lange questions what it means for humanity to dwell inside environments that are planned, designed and repeated, with little recourse for history, transition and change.
Mårten Lange: Ghost witness
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China has a rich tradition of ghost stories and supernatural beliefs. There are tales of ghosts that can shape-shift, or turn into air, or pure darkness or light. In ''Ghost witness,'' Mårten Lange tells the story of a country rushing towards the future with the past following silently behind, like a spectre in the smog. In his time in China, Lange visited urban metropolises that have expanded rapidly in recent years, as a result of hyper-accelerated growth and development. Walking through these megacities, Lange explores the bleeding edge between rationalised urban planning and messy everyday lives. ''Ghost witness'' engages with the unique quality of light in the urban environment, where the sun filters through the polluted air and the vast arrays of LEDs twinkle in the rain – revealing the world indirectly, like a mirror. The images in ''Ghost witness'' inhabit and replicate the machine-like rational logic of the grid to interrogate overlaps and fissures between architecture, technology, surveillance and the future. Lange’s precise photographs often describe those fissures: indecipherable codes, broken windows, decay and entropy within the order of glass and steel. Suspended in a liminal state between constant construction and expansion, Lange questions what it means for humanity to dwell inside environments that are planned, designed and repeated, with little recourse for history, transition and change.
Classification:
livres
livres
Publication:
novembre 2020
novembre 2020
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
Privacy a manifesto
Privacy a manifesto
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What ever happened to privacy? The simple right to be left alone? Surveillance cameras track our movements. Governments monitor our phone calls, e-mails, and Internet habits. Insurance companies know what drugs we take. Banks and credit agencies keep tabs on our smallest purchases. And new technologies - which gather, store, and share information as never before - have(...)
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What ever happened to privacy? The simple right to be left alone? Surveillance cameras track our movements. Governments monitor our phone calls, e-mails, and Internet habits. Insurance companies know what drugs we take. Banks and credit agencies keep tabs on our smallest purchases. And new technologies - which gather, store, and share information as never before - have(...)
Titre:
Privacy a manifesto
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$24.95
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What ever happened to privacy? The simple right to be left alone? Surveillance cameras track our movements. Governments monitor our phone calls, e-mails, and Internet habits. Insurance companies know what drugs we take. Banks and credit agencies keep tabs on our smallest purchases. And new technologies - which gather, store, and share information as never before - have made all of this possible. But, as the acclaimed social thinker Wolfgang Sofsky shows in this brief and powerful defense of privacy, neither technology nor fears of terrorism deserve all the blame. Rather, through indifference and the desire for attention, we have been accomplices in the loss of our privacy. When we aren't resigning ourselves to privacy's disappearance as the inevitable price of living in a new age, we are eagerly embracing opportunities to divulge personal information to people we know - and, increasingly, to people we don't. Dramatically demonstrating how much privacy we have already surrendered, Sofsky describes a day in the life of an average modern citizen - in other words, a person under almost constant scrutiny. He also briefly traces the changing status of privacy from ancient Rome to today, explains how liberty and freedom of thought depend on privacy, and points to some of the places where privacy is under greatest threat, from health to personal space. Privacy is a timely and compelling reminder of just how important privacy is - and just how devastating its loss would be.
Privacy a manifesto
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What ever happened to privacy? The simple right to be left alone? Surveillance cameras track our movements. Governments monitor our phone calls, e-mails, and Internet habits. Insurance companies know what drugs we take. Banks and credit agencies keep tabs on our smallest purchases. And new technologies - which gather, store, and share information as never before - have made all of this possible. But, as the acclaimed social thinker Wolfgang Sofsky shows in this brief and powerful defense of privacy, neither technology nor fears of terrorism deserve all the blame. Rather, through indifference and the desire for attention, we have been accomplices in the loss of our privacy. When we aren't resigning ourselves to privacy's disappearance as the inevitable price of living in a new age, we are eagerly embracing opportunities to divulge personal information to people we know - and, increasingly, to people we don't. Dramatically demonstrating how much privacy we have already surrendered, Sofsky describes a day in the life of an average modern citizen - in other words, a person under almost constant scrutiny. He also briefly traces the changing status of privacy from ancient Rome to today, explains how liberty and freedom of thought depend on privacy, and points to some of the places where privacy is under greatest threat, from health to personal space. Privacy is a timely and compelling reminder of just how important privacy is - and just how devastating its loss would be.
Classification:
livres
livres
Publication:
octobre 2008, Princeton, Oxford
octobre 2008, Princeton, Oxford
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
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$37.50
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of(...)
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of(...)
Titre:
Local treasures : geocaching across America
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Résumé:
In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of locations - from a grove of trees to a cliff ledge to the depths of a riverbed - and then inviting others to find them, leave a note, and swap a treasure of their own. In "Local Treasures" Margot Anne Kelley offers one of the first books on "geocaching," exploring what compels ordinary people across the world to take part in these extraordinary treasure hunts. Kelley traveled throughout the U.S. to chronicle the sites and stories of geocaching adventures, from the rocky coasts of Maine to the deserts surrounding Las Vegas to the starting point of the Mason-Dixon Line. Each full-color photograph exposes a vision of America quite unlike that presented in a traditional guidebook : truly off the beaten path, these are non-idealized landscapes, often places with special meaning for the players alone. Kelley's accompanying writings explore the world of geocaching communities, their rare ability to integrate new technologies with the natural world, and their complex and often ambivalent relationships to the surveillance technologies that sustain the game. Kelley's text is an examination of a new and creative diversion emerging from the intersection of the virtual world with the real. With a foreword by Frank Gohlke.
Local treasures : geocaching across America
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Prix:
$37.50
(disponible sur commande)
Résumé:
In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of locations - from a grove of trees to a cliff ledge to the depths of a riverbed - and then inviting others to find them, leave a note, and swap a treasure of their own. In "Local Treasures" Margot Anne Kelley offers one of the first books on "geocaching," exploring what compels ordinary people across the world to take part in these extraordinary treasure hunts. Kelley traveled throughout the U.S. to chronicle the sites and stories of geocaching adventures, from the rocky coasts of Maine to the deserts surrounding Las Vegas to the starting point of the Mason-Dixon Line. Each full-color photograph exposes a vision of America quite unlike that presented in a traditional guidebook : truly off the beaten path, these are non-idealized landscapes, often places with special meaning for the players alone. Kelley's accompanying writings explore the world of geocaching communities, their rare ability to integrate new technologies with the natural world, and their complex and often ambivalent relationships to the surveillance technologies that sustain the game. Kelley's text is an examination of a new and creative diversion emerging from the intersection of the virtual world with the real. With a foreword by Frank Gohlke.
Classification:
livres
livres
Publication:
octobre 2005, Santa Fe
octobre 2005, Santa Fe
Sujet:
Monographies photo
Monographies photo
Classification:
périodiques
périodiques
Titre:
Open 6 (in)security
Open 6 (in)security
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Prix:
$36.00
(disponible sur commande)
Résumé:
There is a yearning for security in today's public domain. The individual and the community are increasingly demanding protection from and control over the space, themselves and others. A society of control is looming, but one lacking a clear idea about the nature and the origin of its underlying fears. This cahier examines the consequences of the current preoccupation(...)
$36.00
(disponible sur commande)
Résumé:
There is a yearning for security in today's public domain. The individual and the community are increasingly demanding protection from and control over the space, themselves and others. A society of control is looming, but one lacking a clear idea about the nature and the origin of its underlying fears. This cahier examines the consequences of the current preoccupation(...)
Sujet:
Revues
Revues
Publication:
août 2004, Rotterdam
août 2004, Rotterdam
Titre:
Open 6 (in)security
Actions:
Prix:
$36.00
(disponible sur commande)
Résumé:
There is a yearning for security in today's public domain. The individual and the community are increasingly demanding protection from and control over the space, themselves and others. A society of control is looming, but one lacking a clear idea about the nature and the origin of its underlying fears. This cahier examines the consequences of the current preoccupation with security for the public space and the visual arts. What are the implications for the functioning of the public domain, for its arrangement, design and experience? And how does this influence the task and perception of art? From art, architecture, philosophy and politics come theoretical and practical scenarios, proposals and visions that expose something of today's security paradigm, advocate alternative (conceptual) models or offer insights into the current ethics and aesthetics of security. Gijs van Oenen subjects the 'new securityscape' to a critical analysis. Lieven De Cauter digs into the various strata of the new fear. Sean Snyder presents images from his Temporary Occupation project. Thomas Y. Levin looks at how artists deal with surveillance in the public space. Sven Lütticken reflects on the concept of a 'human park' in philosophy, art and media. Harm Tilman focuses on architecture in a society of control. Mark Wigley analyses the issue of security in relation to the World Trade Center buildings in New York. Hans Boutellier wishes art would apply the brakes to the security Utopia. Jouke Kleerebezem calls for vigilance in the information society. Willem van Weelden discusses the project in Kanaleneiland, Utrecht. Q.S. Serafijn shows multiple dimensions of the interactive D-Tower in Doetinchem. Mark Wigley dissects the abode of the Unabomber.
Open 6 (in)security
Actions:
Prix:
$36.00
(disponible sur commande)
Résumé:
There is a yearning for security in today's public domain. The individual and the community are increasingly demanding protection from and control over the space, themselves and others. A society of control is looming, but one lacking a clear idea about the nature and the origin of its underlying fears. This cahier examines the consequences of the current preoccupation with security for the public space and the visual arts. What are the implications for the functioning of the public domain, for its arrangement, design and experience? And how does this influence the task and perception of art? From art, architecture, philosophy and politics come theoretical and practical scenarios, proposals and visions that expose something of today's security paradigm, advocate alternative (conceptual) models or offer insights into the current ethics and aesthetics of security. Gijs van Oenen subjects the 'new securityscape' to a critical analysis. Lieven De Cauter digs into the various strata of the new fear. Sean Snyder presents images from his Temporary Occupation project. Thomas Y. Levin looks at how artists deal with surveillance in the public space. Sven Lütticken reflects on the concept of a 'human park' in philosophy, art and media. Harm Tilman focuses on architecture in a society of control. Mark Wigley analyses the issue of security in relation to the World Trade Center buildings in New York. Hans Boutellier wishes art would apply the brakes to the security Utopia. Jouke Kleerebezem calls for vigilance in the information society. Willem van Weelden discusses the project in Kanaleneiland, Utrecht. Q.S. Serafijn shows multiple dimensions of the interactive D-Tower in Doetinchem. Mark Wigley dissects the abode of the Unabomber.
Classification:
périodiques
périodiques
Publication:
août 2004, Rotterdam
août 2004, Rotterdam
Sujet:
Revues
Revues
