4347 Résultats
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livres
livres
Titre:
DESIGNsuisse
DESIGNsuisse
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$106.50
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"DESIGNsuisse" propose un regard sur 25 créateurs dont les objets, logos et marques font partie de du quotidien. Accompagné de deux DVD présentant 25 courts métrages (25 portraits filmés), l'ouvrage présente en quatre langues un panorama original du design suisse. Chaque film montre la personnalité et la méthode de travail d’un créateur à travers ses réalisations et ses(...)
$106.50
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"DESIGNsuisse" propose un regard sur 25 créateurs dont les objets, logos et marques font partie de du quotidien. Accompagné de deux DVD présentant 25 courts métrages (25 portraits filmés), l'ouvrage présente en quatre langues un panorama original du design suisse. Chaque film montre la personnalité et la méthode de travail d’un créateur à travers ses réalisations et ses(...)
Titre:
DESIGNsuisse
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$106.50
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"DESIGNsuisse" propose un regard sur 25 créateurs dont les objets, logos et marques font partie de du quotidien. Accompagné de deux DVD présentant 25 courts métrages (25 portraits filmés), l'ouvrage présente en quatre langues un panorama original du design suisse. Chaque film montre la personnalité et la méthode de travail d’un créateur à travers ses réalisations et ses projets en cours. Quant au livre, il décline le résultat du travail de chaque artiste au fil de textes percutants et de nombreuses photographies. / This is an important book about contemporary design that provides essential information in this sphere of professional and general interest. Posters, furniture, typography, sneakers, textiles: Swiss design is rich, manifold and renowned. "DESIGNsuisse" includes reports specially written and illustrated by young photographers for this book on 25 representative designers. It looks at their way of working and most important works, and also catalogues their complete works. An essay on the history and the current role and importance of design in Switzerland places them in context, and the book also includes further important names, clients, producers, schools and artists active in several fields. The book includes an index and an annotated bibliography. Featured on the cover of the book are two DVDs of the designers discussed.
DESIGNsuisse
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$106.50
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Résumé:
"DESIGNsuisse" propose un regard sur 25 créateurs dont les objets, logos et marques font partie de du quotidien. Accompagné de deux DVD présentant 25 courts métrages (25 portraits filmés), l'ouvrage présente en quatre langues un panorama original du design suisse. Chaque film montre la personnalité et la méthode de travail d’un créateur à travers ses réalisations et ses projets en cours. Quant au livre, il décline le résultat du travail de chaque artiste au fil de textes percutants et de nombreuses photographies. / This is an important book about contemporary design that provides essential information in this sphere of professional and general interest. Posters, furniture, typography, sneakers, textiles: Swiss design is rich, manifold and renowned. "DESIGNsuisse" includes reports specially written and illustrated by young photographers for this book on 25 representative designers. It looks at their way of working and most important works, and also catalogues their complete works. An essay on the history and the current role and importance of design in Switzerland places them in context, and the book also includes further important names, clients, producers, schools and artists active in several fields. The book includes an index and an annotated bibliography. Featured on the cover of the book are two DVDs of the designers discussed.
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livres
livres
Publication:
mars 2006, Zürich
mars 2006, Zürich
Sujet:
Design industriel
Design industriel
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livres
livres
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$88.00
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Although the first universal color slide film came onto the market in 1935, it was reserved for the world of advertising, and as late as the 1980s it was still considered commercial, vulgar and unartistic. Despite this, from the 1960s onward, more and more photographers began to discover the creative possibilities of the medium. William Eggleston, whose career has spanned(...)
$88.00
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Although the first universal color slide film came onto the market in 1935, it was reserved for the world of advertising, and as late as the 1980s it was still considered commercial, vulgar and unartistic. Despite this, from the 1960s onward, more and more photographers began to discover the creative possibilities of the medium. William Eggleston, whose career has spanned(...)
Titre:
William Eggleston: Mystery of the ordinary
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$88.00
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Although the first universal color slide film came onto the market in 1935, it was reserved for the world of advertising, and as late as the 1980s it was still considered commercial, vulgar and unartistic. Despite this, from the 1960s onward, more and more photographers began to discover the creative possibilities of the medium. William Eggleston, whose career has spanned over five decades, not only substantially contributed to this paradigm shift; he also noticeably influenced many subsequent generations. Along with Saul Leiter, Evelyn Hofer and Stephen Shore, Eggleston was one of the first photographers to recognize the distinctive power of color and its unique capacity to create pictures that continuously challenge the everyday. He imbued banality with the uncanny and mysterious, investigating his immediate surroundings again and again—as if he were somehow suspicious of the contents of his freezer, the ketchup bottle on the diner counter, not to mention the guns that appear as if by chance in so many of his pictures. "Mystery of the ordinary" captures the full scope of Eggleston’s evolution and legacy: from the early black-and-white work of the late 1950s, in which we witness his discovery and exploration of themes and unconventional croppings, to some of his most iconic color images.
William Eggleston: Mystery of the ordinary
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$88.00
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Although the first universal color slide film came onto the market in 1935, it was reserved for the world of advertising, and as late as the 1980s it was still considered commercial, vulgar and unartistic. Despite this, from the 1960s onward, more and more photographers began to discover the creative possibilities of the medium. William Eggleston, whose career has spanned over five decades, not only substantially contributed to this paradigm shift; he also noticeably influenced many subsequent generations. Along with Saul Leiter, Evelyn Hofer and Stephen Shore, Eggleston was one of the first photographers to recognize the distinctive power of color and its unique capacity to create pictures that continuously challenge the everyday. He imbued banality with the uncanny and mysterious, investigating his immediate surroundings again and again—as if he were somehow suspicious of the contents of his freezer, the ketchup bottle on the diner counter, not to mention the guns that appear as if by chance in so many of his pictures. "Mystery of the ordinary" captures the full scope of Eggleston’s evolution and legacy: from the early black-and-white work of the late 1950s, in which we witness his discovery and exploration of themes and unconventional croppings, to some of his most iconic color images.
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livres
livres
Publication:
décembre 2023
décembre 2023
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$60.00
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York(...)
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York(...)
Publication:
août 2016
août 2016
Titre:
Gordon Matta-Clark: Experience becomes the object
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York City alleys and curbs. The artist used a variety of media to document his work, including film, video and photography. His work and words, while sophisticated enough to make him an "artist’s artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. In the early 1970s, Matta-Clark developed the idea of "anarchitecture," which encompassed his interest in voids, gaps and left-over spaces. Gordon Matta-Clark: Experience Becomes the Object collects five essays and ten individual interviews with various friends and family members of Matta-Clark’s. Together, they outline a biographical profile and offer an analysis of the historical period in which the artist developed his short but successful career. New, never-before-published material and photographs as well as an exclusive link to the documentary Crosswords: Matta-Clark’s Friends by Matias Cardone are also included.
Gordon Matta-Clark: Experience becomes the object
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Gordon Matta-Clark died at only 35 of pancreatic cancer and has since become a cult figure of late 20th-century art. Trained in architecture at Cornell, he went on to question the field’s conventions in vivid projects—performance and recycling pieces, space and texture works and word games—some of which excised holes into existing buildings or assembled deeds to New York City alleys and curbs. The artist used a variety of media to document his work, including film, video and photography. His work and words, while sophisticated enough to make him an "artist’s artist," and colossal and outgoing enough to draw public attention and affection, were always also grounded in social or political convictions. In the early 1970s, Matta-Clark developed the idea of "anarchitecture," which encompassed his interest in voids, gaps and left-over spaces. Gordon Matta-Clark: Experience Becomes the Object collects five essays and ten individual interviews with various friends and family members of Matta-Clark’s. Together, they outline a biographical profile and offer an analysis of the historical period in which the artist developed his short but successful career. New, never-before-published material and photographs as well as an exclusive link to the documentary Crosswords: Matta-Clark’s Friends by Matias Cardone are also included.
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livres
livres
Publication:
août 2016
août 2016
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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:
Ai Weiwei
Ai Weiwei
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Born in 1957, Beijing-based Ai Weiwei is perhaps the most internationally visible contemporary Chinese artist. Philip Tinari has described his practice as a, "multitasking sprawl--encompassing artmaking, curating, publishing and architectural design--[that] threatens to answer the vaguely unsettling question, What would Andy Warhol's career have looked like if it had(...)
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Born in 1957, Beijing-based Ai Weiwei is perhaps the most internationally visible contemporary Chinese artist. Philip Tinari has described his practice as a, "multitasking sprawl--encompassing artmaking, curating, publishing and architectural design--[that] threatens to answer the vaguely unsettling question, What would Andy Warhol's career have looked like if it had(...)
Titre:
Ai Weiwei
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Born in 1957, Beijing-based Ai Weiwei is perhaps the most internationally visible contemporary Chinese artist. Philip Tinari has described his practice as a, "multitasking sprawl--encompassing artmaking, curating, publishing and architectural design--[that] threatens to answer the vaguely unsettling question, What would Andy Warhol's career have looked like if it had played out in turn-of-the-millennium China? (For one thing, architecture might have stood in for film; where Warhol created an alter-Hollywood, Ai is a self-invented starchitect)." After spending the early 1980s in New York, Ai moved back to Beijing in 1994. Already an important member of the Stars group, a socially critical movement that borrowed heavily from western art and culture, he established the famed China Art Archives and Warehouse in 1997. In 2000, on the occasion of the Shanghai Biennale, he organized the attention-grabbing group exhibition Fuck Off in collaboration with curator Feng Boyi. More recently, he was involved in the design of the Olympic Stadium in Beijing by Herzog & de Meuron. This publication takes an in-depth look at Ai's under-explored engagement with ceramics, and is published on the occasion of a solo exhibition of his recent ceramic work at Holland's Groningen Museum.
Ai Weiwei
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Born in 1957, Beijing-based Ai Weiwei is perhaps the most internationally visible contemporary Chinese artist. Philip Tinari has described his practice as a, "multitasking sprawl--encompassing artmaking, curating, publishing and architectural design--[that] threatens to answer the vaguely unsettling question, What would Andy Warhol's career have looked like if it had played out in turn-of-the-millennium China? (For one thing, architecture might have stood in for film; where Warhol created an alter-Hollywood, Ai is a self-invented starchitect)." After spending the early 1980s in New York, Ai moved back to Beijing in 1994. Already an important member of the Stars group, a socially critical movement that borrowed heavily from western art and culture, he established the famed China Art Archives and Warehouse in 1997. In 2000, on the occasion of the Shanghai Biennale, he organized the attention-grabbing group exhibition Fuck Off in collaboration with curator Feng Boyi. More recently, he was involved in the design of the Olympic Stadium in Beijing by Herzog & de Meuron. This publication takes an in-depth look at Ai's under-explored engagement with ceramics, and is published on the occasion of a solo exhibition of his recent ceramic work at Holland's Groningen Museum.
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livres
livres
Publication:
avril 2008, Rotterdam
avril 2008, Rotterdam
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livres
livres
Prix:
$23.50
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Résumé:
Has COVID-19 ushered in the end of the office? Or is it the office’s final triumph? For decades, futurologists have prophesied a boundaryless working world, freed from the cramped confines of the office. During the COVID-19 crisis, employees around the globe got a taste of it. Confined by lockdown to their homes, they met, mingled, collaborated, and created(...)
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Has COVID-19 ushered in the end of the office? Or is it the office’s final triumph? For decades, futurologists have prophesied a boundaryless working world, freed from the cramped confines of the office. During the COVID-19 crisis, employees around the globe got a taste of it. Confined by lockdown to their homes, they met, mingled, collaborated, and created(...)
Titre:
The momentous, uneventful day: A requiem for the office
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$23.50
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Has COVID-19 ushered in the end of the office? Or is it the office’s final triumph? For decades, futurologists have prophesied a boundaryless working world, freed from the cramped confines of the office. During the COVID-19 crisis, employees around the globe got a taste of it. Confined by lockdown to their homes, they met, mingled, collaborated, and created electronically. At length, they returned to something approaching normality. Or had they glimpsed the normal to come? In''The momentous, uneventful day,'' Gideon Haigh reflects on our ambivalent relationship to office work and office life, how we ended up with the offices we have, how they have reflected our best and worst instincts, and how these might be affected by a world in a time of contagion. Like the factory in the nineteenth century, the office was the characteristic building form of the twentieth, reshaping our cities, redirecting our lives. We all have a stake in how it will change in the twenty-first. Enlivened by copious citations from literature, film, memoir, and corporate history, and interspersed with relevant images,''The momentous, uneventful day'' is the ideal companion for a lively current debate about the role offices will play in the future.
The momentous, uneventful day: A requiem for the office
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$23.50
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Résumé:
Has COVID-19 ushered in the end of the office? Or is it the office’s final triumph? For decades, futurologists have prophesied a boundaryless working world, freed from the cramped confines of the office. During the COVID-19 crisis, employees around the globe got a taste of it. Confined by lockdown to their homes, they met, mingled, collaborated, and created electronically. At length, they returned to something approaching normality. Or had they glimpsed the normal to come? In''The momentous, uneventful day,'' Gideon Haigh reflects on our ambivalent relationship to office work and office life, how we ended up with the offices we have, how they have reflected our best and worst instincts, and how these might be affected by a world in a time of contagion. Like the factory in the nineteenth century, the office was the characteristic building form of the twentieth, reshaping our cities, redirecting our lives. We all have a stake in how it will change in the twenty-first. Enlivened by copious citations from literature, film, memoir, and corporate history, and interspersed with relevant images,''The momentous, uneventful day'' is the ideal companion for a lively current debate about the role offices will play in the future.
Classification:
livres
livres
Publication:
septembre 2021
septembre 2021
Sujet:
Théorie/ philosophie
Théorie/ philosophie
Classification:
livres
livres
Prix:
$39.00
(disponible sur commande)
Résumé:
Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it(...)
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Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it(...)
Titre:
The camera does the rest: how Polaroid changed photography
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Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
The camera does the rest: how Polaroid changed photography
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$39.00
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Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.” Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking. Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.
Classification:
livres
livres
Publication:
avril 2016
avril 2016
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$99.95
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Fasciné par la question du temps et de la mémoire en photographie, Hiroshi Sugimoto cherche à exprimer sa propre vision du monde à travers l’œil d’un appareil photographique. C’est avec cette idée là qu’il a commencé la série Theaters en 1976, dans une salle de cinéma new yorkais, le Saint Marks, où le temps d’exposition de sa prise de vue correspondait à la durée du film(...)
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Fasciné par la question du temps et de la mémoire en photographie, Hiroshi Sugimoto cherche à exprimer sa propre vision du monde à travers l’œil d’un appareil photographique. C’est avec cette idée là qu’il a commencé la série Theaters en 1976, dans une salle de cinéma new yorkais, le Saint Marks, où le temps d’exposition de sa prise de vue correspondait à la durée du film(...)
Titre:
Hiroshi Sugimoto: theaters, ed. française
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Fasciné par la question du temps et de la mémoire en photographie, Hiroshi Sugimoto cherche à exprimer sa propre vision du monde à travers l’œil d’un appareil photographique. C’est avec cette idée là qu’il a commencé la série Theaters en 1976, dans une salle de cinéma new yorkais, le Saint Marks, où le temps d’exposition de sa prise de vue correspondait à la durée du film soit 170 000 images réunies en une seule photographie. Il en résulte un halo blanc émanant de l’écran qui éclaire la salle : je me rendis compte que j’avais sous les yeux, extériorisée sur le négatif, mon exacte vision intérieure. Cette image n’existait pas dans la réalité, je ne l’avais pas vue non plus de mes yeux. Qui, alors, l’avait vue ? Je crois que c’était l’appareil photo lui-même. L’image rémanente d’une accumulation d’images rémanentes… (Hiroshi Sugimoto). Pendant quarante ans, Sugimoto multiplie les photographies de salles de cinéma et de drive-in à travers le monde en suivant ce même protocole évoquant ainsi un sentiment d’intemporalité. Un texte inédit de Hiroshi Sugimoto imprégné de philosophie, de l’histoire des civilisations anciennes et de spiritualité, nous éclaire sur sa démarche et son exploration conceptuelle du médium photographique.
Hiroshi Sugimoto: theaters, ed. française
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Fasciné par la question du temps et de la mémoire en photographie, Hiroshi Sugimoto cherche à exprimer sa propre vision du monde à travers l’œil d’un appareil photographique. C’est avec cette idée là qu’il a commencé la série Theaters en 1976, dans une salle de cinéma new yorkais, le Saint Marks, où le temps d’exposition de sa prise de vue correspondait à la durée du film soit 170 000 images réunies en une seule photographie. Il en résulte un halo blanc émanant de l’écran qui éclaire la salle : je me rendis compte que j’avais sous les yeux, extériorisée sur le négatif, mon exacte vision intérieure. Cette image n’existait pas dans la réalité, je ne l’avais pas vue non plus de mes yeux. Qui, alors, l’avait vue ? Je crois que c’était l’appareil photo lui-même. L’image rémanente d’une accumulation d’images rémanentes… (Hiroshi Sugimoto). Pendant quarante ans, Sugimoto multiplie les photographies de salles de cinéma et de drive-in à travers le monde en suivant ce même protocole évoquant ainsi un sentiment d’intemporalité. Un texte inédit de Hiroshi Sugimoto imprégné de philosophie, de l’histoire des civilisations anciennes et de spiritualité, nous éclaire sur sa démarche et son exploration conceptuelle du médium photographique.
Classification:
livres
livres
Publication:
octobre 2016
octobre 2016
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
In praise of copying
In praise of copying
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$29.95
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This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word(...)
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This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word(...)
Titre:
In praise of copying
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Résumé:
This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word “copying” permeates contemporary culture, shaping discourse on issues from hip hop to digitization to gender reassignment, and is particularly crucial in legal debates concerning intellectual property and copyright. Yet as a philosophical concept, copying remains poorly understood. Working comparatively across cultures and times, Marcus Boon undertakes an examination of what this word means—historically, culturally, philosophically—and why it fills us with fear and fascination. He argues that the dominant legal-political structures that define copying today obscure much broader processes of imitation that have constituted human communities for ages and continue to shape various subcultures today. Drawing on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice, In Praise of Copying seeks to show how and why copying works, what the sources of its power are, and the political stakes of renegotiating the way we value copying in the age of globalization.
In praise of copying
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Prix:
$29.95
(disponible sur commande)
Résumé:
This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word “copying” permeates contemporary culture, shaping discourse on issues from hip hop to digitization to gender reassignment, and is particularly crucial in legal debates concerning intellectual property and copyright. Yet as a philosophical concept, copying remains poorly understood. Working comparatively across cultures and times, Marcus Boon undertakes an examination of what this word means—historically, culturally, philosophically—and why it fills us with fear and fascination. He argues that the dominant legal-political structures that define copying today obscure much broader processes of imitation that have constituted human communities for ages and continue to shape various subcultures today. Drawing on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice, In Praise of Copying seeks to show how and why copying works, what the sources of its power are, and the political stakes of renegotiating the way we value copying in the age of globalization.
Classification:
livres
livres
Publication:
octobre 2010
octobre 2010
Sujet:
Théorie/ philosophie
Théorie/ philosophie
Classification:
livres
livres
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$61.00
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Résumé:
Ernst Schwitters (1918-1996) began his career in photography in his teens, converting the family bathroom into a darkroom with the consent of his parents, Kurt and Helma Schwitters, at the age of 15 - by which time Ernst was already experimenting with photograms, following a visit from family friend Man Ray. His father encouraged him to undergo formal training in(...)
$61.00
(disponible sur commande)
Résumé:
Ernst Schwitters (1918-1996) began his career in photography in his teens, converting the family bathroom into a darkroom with the consent of his parents, Kurt and Helma Schwitters, at the age of 15 - by which time Ernst was already experimenting with photograms, following a visit from family friend Man Ray. His father encouraged him to undergo formal training in(...)
Titre:
The colors of Norway, 1943-1963
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$61.00
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Résumé:
Ernst Schwitters (1918-1996) began his career in photography in his teens, converting the family bathroom into a darkroom with the consent of his parents, Kurt and Helma Schwitters, at the age of 15 - by which time Ernst was already experimenting with photograms, following a visit from family friend Man Ray. His father encouraged him to undergo formal training in photography, but Ernst declined, preferring to teach himself, and by 1930 he was already participating in international exhibitions, having found his preferred subject matter in the landscapes of Norway and England. Having led the Schwitters family's migration from Nazi Germany to Norway, Ernst was to receive great acclaim there for both his landscape and architectural photography, and was also able to establish financial security through assignments for the Norwegian advertising agency SS-UNU-Foto. It is little known that Schwitters is one of color photography's pioneers: he began working with color film in 1943, and within two decades, he had created more than 10,000 slides, many of which have been digitally restored for this new volume. The only monograph on the photographer currently in print, the publication debuts Schwitters' vast oeuvre of color landscape photography, and also includes a fascinating account of the digital restoration process that allowed for their publication here.
The colors of Norway, 1943-1963
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Prix:
$61.00
(disponible sur commande)
Résumé:
Ernst Schwitters (1918-1996) began his career in photography in his teens, converting the family bathroom into a darkroom with the consent of his parents, Kurt and Helma Schwitters, at the age of 15 - by which time Ernst was already experimenting with photograms, following a visit from family friend Man Ray. His father encouraged him to undergo formal training in photography, but Ernst declined, preferring to teach himself, and by 1930 he was already participating in international exhibitions, having found his preferred subject matter in the landscapes of Norway and England. Having led the Schwitters family's migration from Nazi Germany to Norway, Ernst was to receive great acclaim there for both his landscape and architectural photography, and was also able to establish financial security through assignments for the Norwegian advertising agency SS-UNU-Foto. It is little known that Schwitters is one of color photography's pioneers: he began working with color film in 1943, and within two decades, he had created more than 10,000 slides, many of which have been digitally restored for this new volume. The only monograph on the photographer currently in print, the publication debuts Schwitters' vast oeuvre of color landscape photography, and also includes a fascinating account of the digital restoration process that allowed for their publication here.
Classification:
livres
livres
Publication:
août 2011
août 2011
Sujet:
Monographies photo
Monographies photo
