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Elizabeth A. Povinelli has mapped the creation and dismantling of worlds formed by the twinning of historical progress and settler colonialism—as a unity in events and a contradiction in ideology. Even if corporations and nation-states now collude in the same Ponzi schemes, they still continue to transform space and time. At the receiving end of the ideological exhaust(...)
E-Flux journal: Routes and worlds
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Elizabeth A. Povinelli has mapped the creation and dismantling of worlds formed by the twinning of historical progress and settler colonialism—as a unity in events and a contradiction in ideology. Even if corporations and nation-states now collude in the same Ponzi schemes, they still continue to transform space and time. At the receiving end of the ideological exhaust pipe, where transformation is inherited as deformation, the diagram flips to place brutality and existential exhaustion at the beginning. But the beginning of what? How about a new beginning, starting with modes of survival and persistence against, and within, a world built from deferred promises? This is a world that many in the imperial hemisphere are only starting to realize they’ve known for longer than they want to admit.
Théorie/ philosophie
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Afterimage of Empire provides a philosophical and historical account of early photography in India that focuses on how aesthetic experiments in colonial photography changed the nature of perception. Considering photographs from the Sepoy Revolt of 1857 along with landscape, portraiture, and famine photography, Zahid R. Chaudhary explores larger issues of truth, memory,(...)
Afterimage of empire: photography in nineteenth-century India
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Afterimage of Empire provides a philosophical and historical account of early photography in India that focuses on how aesthetic experiments in colonial photography changed the nature of perception. Considering photographs from the Sepoy Revolt of 1857 along with landscape, portraiture, and famine photography, Zahid R. Chaudhary explores larger issues of truth, memory, and embodiment. The author scrutinizes the colonial context to understand the production of sense itself, proposing a new theory of interpreting the historical difference of aesthetic forms. In rereading colonial photographic images, he shows how the histories of colonialism became aesthetically, mimetically, and perceptually generative. He suggests that photography arrived in India not only as a technology of the colonial state but also as an instrument that eventually extended and transformed sight for photographers and the body politic, both British and Indian.
Théorie de la photographie
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"Many norths: spatial practice in a polar territory" charts the unique spatial realities of Canada’s Arctic region, an immense territory populated with small, dispersed communities. The region has undergone dramatic transformations in the name of sovereignty, aboriginal affairs management, resources, and trade, among others. For most of the Arctic’s modern history,(...)
juin 2017
Many norths: spatial practice in a polar territory
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"Many norths: spatial practice in a polar territory" charts the unique spatial realities of Canada’s Arctic region, an immense territory populated with small, dispersed communities. The region has undergone dramatic transformations in the name of sovereignty, aboriginal affairs management, resources, and trade, among others. For most of the Arctic’s modern history, architecture, infrastructure, and settlements have been the tools of colonialism. Today, tradition and modernity are intertwined. Northerners have demonstrated remarkable adaptation and resilience as powerful climatic, social, and economic pressures collide. This unprecedented book documents—through the themes of urbanism, architecture, mobility, monitoring, and resources—the multiplicity of norths that appear and the spatial practices employed to negotiate it. Using innovative drawings, maps, timelines, as well as essays and interviews, Many Norths reveals a distinct northern vernacular.
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This book is a comprehensive investigation into photographic works by artists from the African continent and its diaspora. Taking the politics of the “colonial gaze” as its starting point, Events of the Social looks at the diverse complexity of the nineteenth-century archive through a selection of vintage portraits, cartes de visite, postcards and album pages. Three(...)
Events of the social: portraiture and collective agency
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This book is a comprehensive investigation into photographic works by artists from the African continent and its diaspora. Taking the politics of the “colonial gaze” as its starting point, Events of the Social looks at the diverse complexity of the nineteenth-century archive through a selection of vintage portraits, cartes de visite, postcards and album pages. Three generations of African artists from the 1940s till now then chart the changing features of African societies through portraiture, exploring notions of the self, gender, sexuality, race, social status and politics. The book also examines landscape and the built environment, showing how architecture and spatial planning convey social order and ideology while reflecting experiences of migration, colonialism, war and industrialization. Another group of artists, born after the mid-1970s, explores issues of social identity, lineage, questions of belonging and personal experiences.
Photographie- collections
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For decades, the call for equality and equal opportunity has been heard within the hierarchical world of architecture. The number of those actively working for change is growing. Their goal is to turn architecture into an ethically responsible and socially and ecologically sustainable practice. The publication proceeds from the question of how forms of social injustice(...)
ARCH+ : Contemporary feminist spatial practices
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For decades, the call for equality and equal opportunity has been heard within the hierarchical world of architecture. The number of those actively working for change is growing. Their goal is to turn architecture into an ethically responsible and socially and ecologically sustainable practice. The publication proceeds from the question of how forms of social injustice are entwined on different spatial levels. As its enquiry unfolds, it becomes clear that the fight for gender equality in the built environment must now be linked to other forms of campaigning for social justice (anti-racism, anti-colonialism, the fight against transphobia and homophobia, etc.). As a political medium, architecture can help honour a new pledge of freedom based on a transformative idea of fairness. ARCH+ is Germany’s leading magazine for discourse in the fields of architecture and urbanism.
Revues
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Grimoires, textbooks of magic and occult knowledge, have existed through the ages alongside other magic and religious texts in part because of the need to create a physical record of magical phenomena, but also to enact magic through spells and rituals. To understand the history of these texts is to understand the influence of the major religions, the development of early(...)
Art of the Grimoire: An illustrated history of magic books and spells
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Grimoires, textbooks of magic and occult knowledge, have existed through the ages alongside other magic and religious texts in part because of the need to create a physical record of magical phenomena, but also to enact magic through spells and rituals. To understand the history of these texts is to understand the influence of the major religions, the development of early science, the cultural influence of print, the growth of literacy, the social impact of colonialism, and the expansion of esoteric cultures across the oceans. In more than two hundred color illustrations from ancient times to the present, renowned scholar Owen Davies examines little-studied artistic qualities of grimoires, revealing a unique world of design and imagination. The book takes a global approach, considering Egyptian and Greek papyri, ancient Chinese bamboo scripts, South American pulp prints, and Japanese demon encyclopedias, among other examples.
Illustration
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Since the invention of photography in the nineteenth century, Africa has been defined largely by Western images of its cultures and traditions. From the colonial carte de visite and ethnographic archive to the rise of studio portraiture and social documents of racial surveillance, the fraught relationship between Africa and the photographic lens has become inseparable(...)
A world in common: Contemporary African photography
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Since the invention of photography in the nineteenth century, Africa has been defined largely by Western images of its cultures and traditions. From the colonial carte de visite and ethnographic archive to the rise of studio portraiture and social documents of racial surveillance, the fraught relationship between Africa and the photographic lens has become inseparable from the discourses of post-colonialism. Challenging these dominant images of exoticism and otherness, this book illustrates how photography has allowed artists to reimagine African histories through the lens of the present, to shape our understanding of the contemporary realities we face. Bringing together a diverse range of artists and thinkers to present varied perspectives on issues such as cultural heritage and restitution, spirituality, urbanism and climate change, it reveals how innovative contemporary photography challenges perceptions of history, culture and identity.
Photographie- collections
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''Checkpoint 300'', the highly securitized border facility between occupied Bethlehem and Jerusalem, is a central feature of Israeli control of Palestinian land and life. An apparatus of turnstiles, overcrowded corridors, and invasive inspections, the checkpoint regulates the movement of hundreds of thousands of Palestinians, granting access to some while excluding most.(...)
Checkpoint 3000: Colonial space in Palestine
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''Checkpoint 300'', the highly securitized border facility between occupied Bethlehem and Jerusalem, is a central feature of Israeli control of Palestinian land and life. An apparatus of turnstiles, overcrowded corridors, and invasive inspections, the checkpoint regulates the movement of hundreds of thousands of Palestinians, granting access to some while excluding most. Offering a nuanced exploration of space, Mark Griffiths reveals ''Checkpoint 300'' as a stark symbol of Israeli colonialism that embodies larger systems of control and violence. Drawing on nearly a decade of fieldwork, Griffiths examines how colonial power infiltrates family dynamics, enforces gendered mobility restrictions, shapes local economies, and extends into the global exchange of capital and security technologies. He also underscores how Palestinians endure and resist under oppressive conditions and how indigenous forms of life and living are sustained, illuminating how colonial space is contested and countered, unmade and remade.
Arch Moyen-Orient
Dana Claxton
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Dana Claxton (born 1959) is a critically acclaimed, award-winning artist and filmmaker working across film, video, photography, single and multichannel video installation and performance art. Her practice investigates the body, the socio-political and the spiritual within realms of indigenous beauty. This book consolidates our understanding of Dana Claxton’s dominant(...)
septembre 2021
Dana Claxton
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Dana Claxton (born 1959) is a critically acclaimed, award-winning artist and filmmaker working across film, video, photography, single and multichannel video installation and performance art. Her practice investigates the body, the socio-political and the spiritual within realms of indigenous beauty. This book consolidates our understanding of Dana Claxton’s dominant and recurring themes—indigenous history, culture, beauty and spirituality. While Claxton’s art often alludes to the destructive legacy of colonialism, it also celebrates the resurgence of First Nations’ presence and contemporary identity. What emerges is an artist delivering works of ever greater power and conviction. With her expansive and genre-defying practice—photography, videos, mixed-media installations, text works, performances and curatorial work—she continues to critically reimagine the space of the gallery to be accessible for wider Indigenous audiences and to uphold new understandings of beauty.
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The Funambulist, issue 20. ''Settler Colonialism in Turtle Island'' is a first ever issue of The Funambulist that was guest-edited. This issue was edited by Turtle Island Indigenous scholars and activists Melanie K. Yazzie and Nick Estes (who had contributed twice to the magazine in the past). The issue proposes several facets of Indigenous struggles in Turtle Island(...)
The Funambulist 20, November/December
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The Funambulist, issue 20. ''Settler Colonialism in Turtle Island'' is a first ever issue of The Funambulist that was guest-edited. This issue was edited by Turtle Island Indigenous scholars and activists Melanie K. Yazzie and Nick Estes (who had contributed twice to the magazine in the past). The issue proposes several facets of Indigenous struggles in Turtle Island (what many people call ''North America''.) Most of them depict Native lives in spaces that are not the reservations where the colonial narrative usually situates them. Whether in large cities such as Los Angeles or Saskatoon, or settler border towns in the periphery of reservations, the urban dimension of the first half of the dossier is omnipresent. The second half is dedicated to various forms of Indigenous resistance through space-making, anti-colonial solidarities, representative transgression, or architecture researches/projects.
Revues