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Untitled discrete arbitrary input functions-polyphony-for harpsichord after Brianna and Kassidy.
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1 online resource.
[Place of publication not identified] : Lateral Addition, 2021.
Untitled discrete arbitrary input functions-polyphony-for harpsichord after Brianna and Kassidy.
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Description:
1 online resource.
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[Place of publication not identified] : Lateral Addition, 2021.
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364, 219 pages : illustrations (some color), maps (some color), plans (some color) ; 26 cm
New York ; Barcelona : Actar Publishers, 2021., New York, NY ; Barcelona : Distribution, Actar D, Inc., Barcelona, Spain : [printer not identified], ©2021
Pan-Arab Modernism 1968-2018 : the history of architectural practice in the Middle East / Ricardo Camacho, Dalal Musaed Alsayer, Sara Saragoça Soares = الحداثة العربية ١٩٦٨- ٢٠١٨ : تاريخ الممارسة المعمارية في الشرق الأوسط / ريكارو كاماتشو, دالل مساعد الساير, سارا سارلغوسا سوارج. Pan-Arab Modernism 1968-2018 : the history of architectural practice in the Middle East / Ricardo Camacho, Dalal Musaed Alsayer, Sara Saragoça Soares = Al-ḥadāthah al-'Arabīyah 1968-2018 : tārīkh al-mumārasah al-miʻmārīyah fī al-Sharq al-Awsaṭ / Rekārdū Kāmātshū, Dālal Musāʻid al-Sāyir, Sārā Sārāghūsā Sūārj.
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364, 219 pages : illustrations (some color), maps (some color), plans (some color) ; 26 cm
livres
New York ; Barcelona : Actar Publishers, 2021., New York, NY ; Barcelona : Distribution, Actar D, Inc., Barcelona, Spain : [printer not identified], ©2021
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Painting photography painting
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''Painting Photography Painting'' is the essential first collection of essays by critic and theorist Carol Armstrong, bringing together writings encompassing the many inflection points of her academic work, including French painting, early photography, feminist theory, and the representation of women and gender in the visual arts. In the book’s titular essay, Armstrong asks of Ellen Gallagher’s 2008 painting ''An Experiment of Unusual Opportunity'', which depicts a barely-visible sea creature created out of ink, graphite, oil, varnish, and variously sliced paper, ‘in what sense is this a painting exactly?’ This enquiry into the very essence of the medium provides a thread that runs throughout the book’s wide-ranging essays and ties together a variety of works on paper ‘inscribed, drawn, printed, photographed, and variously pierced and punctured’.
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The twelve new essays in this volume use a contemporary context to think through and with Deleuze. Engaging the here and now, the contributors use the Deleuzian theoretical apparatus to think about issues such as military activity in the Middle East, refugees, terrorism, information and communication, and the State. The book is aimed both at specialists of Deleuze and those who are unfamiliar with his work but who are interested in current affairs. Incorporating political theory and philosophy, culture studies, sociology, international studies, and Middle Eastern studies, the book is designed to appeal to a wide audience. Contributors include: Rosi Braidotti, Claire Colebrook, Verena Conley, Eugene Holland, John Marks, Paul Patton, Patricia Pisters, Laurence J. Silberstein, Kenneth Surin and Nicholas Thoburn.
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''Standpoint Autotheory'' encompasses a multitude of manifestations of radically self-reflexive research attitudes. It traces research based artistic practices through twelve contributions that propose a performative integration of the personal within the production of theory and explore the entanglements of subjectivity with criticality aimed at social transformation by questioning dominant epistemologies. The positions assembled in the book are permeated by different modes of thinking and practice such as autoethnography, practices of the self, auto-historia teoría, standpoint theories, strong objectivity and situated knowledge, self-authority, narrativity and storytelling, radical positioning, performative philosophy, autofiction, thinking-feeling, and other methods that, through the interrogation of embodied experiences, illuminate the connections between the personal and the political, as well as the individual and the communal.
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This study illuminates the complex interplay between Deleuze and Guattari's philosophy and architecture. Presenting their wide-ranging impact on late 20th- and 21st-century architecture, each chapter focuses on a core Deleuzian/Guattarian philosophical concept and one key work of architecture which evokes, contorts, or extends it. Challenging the idea that a concept or theory defines and then produces the physical work and not vice versa, Chris L. Smith positions the relationship between Deleuze and Guattari's philosophy and the field of architecture as one that is mutually substantiating and constitutive. In this framework, modes of architectural production and experimentation become inextricable from the conceptual territories defined by these two key thinkers, producing a rigorous discussion of theoretical, practical, and experimental engagements with their ideas.
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Since Greek antiquity, the human body has been regarded as a microcosm of universal harmony. In this book, an international group of architects, architectural historians, and theorists examines the relation of the human body and architecture. The essays view well-known buildings, texts, paintings, ornaments, and landscapes from the perspective of the body's physical, psychological, and spiritual needs and pleasures. Topics include Greek temples; the churches of Tadao Ando in Japan; Renaissance fortresses and paintings; the body, space, and dwelling in Wright's and Schindler's houses in North America; the corporeal dimension of Carlo Scarpa's landscapes and gardens; theory from Vitruvius to the Renaissance and Enlightenment; and Freudian psychoanalysis. The essays are framed by an appreciation of architectural historian and theorist Joseph Rykwert's influential work on the subject.
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One place after another : site-specific art and locational identity
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"One Place after Another" offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, René¥ Green, Suzanne Lacy, Iñ©§¯ Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
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Appropriation: Documents of contemporary art
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Although appropropriation is often associated with the 1980s practice of such artists as Peter Halley, Sherrie Levine, Richard Prince, and Cindy Sherman, as well as the critical discourse of postmodernism and the simulacral theory of Jean Baudrillard, appropriation’s significance for art is not limited by that cultural and political moment. In an expanded art-historical frame, this book recontextualizes avant-garde photomontage, the Duchampian readymade, and the Pop image among such alternative precursors as Francis Picabia, Bertolt Brecht, Guy Debord, Akasegawa Genpei, Dan Graham, Cildo Meireles, and Martha Rosler. In the recent work of many artists, including Mike Kelley, Glenn Ligon, Pierre Huyghe, and Aleksandra Mir, among others, appropriation is central to their critique of the contemporary world and vision for alternative futures.
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This volume investigates the dissolution of the classical paradigm of architecture as imitative form in the context of the French Enlightenment, and analyzes the emergence of a new logic of architecture based on a biopolitical process of subject formation. Wallenstein draws especially on the late work of Michel Foucault for his argument and distinguishes Foucault’s theory of biopolitics from that of Giorgio Agamben. Published shortly after the release of the first English translation of Foucault’s The Birth of Biopolitics, this is the first volume that specifically relates the biopolitical concept to architecture. The book concludes with a pictorial essay on the development over the last two centuries of the modern hospital, a building type that epitomizes the unfolding of this new architectural logic.
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