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72 pages : chiefly illustrations (some color) ; 23 cm.
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72 pages : chiefly illustrations (some color) ; 23 cm.
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New York : Monacelli Press : Distributed by Penguin USA, 1996.
New York : Monacelli Press : Distributed by Penguin USA, 1996.
Titre:
Zumikon Residence : Gwathmey Siegel / introduction by Charles Gwathmey.
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72 pages : chiefly illustrations (some color) ; 23 cm.
Zumikon Residence : Gwathmey Siegel / introduction by Charles Gwathmey.
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72 pages : chiefly illustrations (some color) ; 23 cm.
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New York : Monacelli Press : Distributed by Penguin USA, 1996.
New York : Monacelli Press : Distributed by Penguin USA, 1996.
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$35.95
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they(...)
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they(...)
Titre:
Everything all the time, everywhere: How we became Postmodern
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they impacted on the world? In this brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and still dominates our lives today. He tells this history through a riotous gallery that includes, among others: David Bowie, the iPod, Madonna, Jeff Koons’s the Nixon Shock, Judith Butler, Las Vegas, Margaret Thatcher, Grand Master Flash, I Love Dick, the RAND Corporation, the Sex Pistols, Princess Diana, Grand Theft Auto, Jean Baudrillard, Netflix, and 9/11. We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything other than suffer from buyer’s remorse?
Everything all the time, everywhere: How we became Postmodern
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Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of ''post truth,'' by means of which western values were turned upside down. But where do these ideas come from and how have they impacted on the world? In this brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and still dominates our lives today. He tells this history through a riotous gallery that includes, among others: David Bowie, the iPod, Madonna, Jeff Koons’s the Nixon Shock, Judith Butler, Las Vegas, Margaret Thatcher, Grand Master Flash, I Love Dick, the RAND Corporation, the Sex Pistols, Princess Diana, Grand Theft Auto, Jean Baudrillard, Netflix, and 9/11. We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything other than suffer from buyer’s remorse?
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livres
livres
Publication:
octobre 2021
octobre 2021
Sujet:
Social
Social
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livres
livres
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$34.95
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What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the(...)
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What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the(...)
Titre:
In praise of nonesense : aesthetics, uncertainty, and postmodern identity
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What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing scholars and contemporary artists, this study examines postmodern thinking through the lenses of identity and visual culture. It focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. When truth is unhinged, so is falsity, and all artistic thinking is called into question. Ted Hiebert takes on the ambitious project of holding postmodernism accountable for its own conclusions while also considering how those conclusions might still be given philosophical and artistic form.
In praise of nonesense : aesthetics, uncertainty, and postmodern identity
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What is truth in the postmodern age? The artistic generation of the twentieth century has grown up immersed in the delirious imagination of postmodern thought, which insists upon the ultimate uncertainty of meaning and that there is no self-evident truth. In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing scholars and contemporary artists, this study examines postmodern thinking through the lenses of identity and visual culture. It focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. When truth is unhinged, so is falsity, and all artistic thinking is called into question. Ted Hiebert takes on the ambitious project of holding postmodernism accountable for its own conclusions while also considering how those conclusions might still be given philosophical and artistic form.
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livres
livres
Publication:
avril 2012
avril 2012
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
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$41.00
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Résumé:
High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson’s major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to The Wire, from “Eurotrash” in opera to Altman(...)
$41.00
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High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson’s major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to The Wire, from “Eurotrash” in opera to Altman(...)
Titre:
The ancients and the postmoderns: on the historicity of forms
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$41.00
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High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson’s major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to The Wire, from “Eurotrash” in opera to Altman and East German literature): all of which attempt, in their different ways, to invent new forms to grasp a specific social totality. Throughout the historical periods, argues Jameson, the question of narrative persists through its multiple formal changes and metamorphoses
The ancients and the postmoderns: on the historicity of forms
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$41.00
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High modernism is now as far from us as antiquity was for the Renaissance. Such is the premise of Fredric Jameson’s major new work in which modernist works, this time in painting (Rubens) and music (Wagner and Mahler), are pitted against late-modernist ones (in film) as well as a variety of postmodern experiments (from SF to The Wire, from “Eurotrash” in opera to Altman and East German literature): all of which attempt, in their different ways, to invent new forms to grasp a specific social totality. Throughout the historical periods, argues Jameson, the question of narrative persists through its multiple formal changes and metamorphoses
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livres
livres
Publication:
février 2015
février 2015
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
livres
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$59.95
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In this reassessment of postmodern architecture at the end of the twentieth century, Emmanuel Petit addresses the role of irony and finds a vitality and depth of dialectics largely ignored by historical critiques. A look at five individual architects - Peter Eisenman, Arata Isozaki, Rem Koolhaas, Stanley Tigerman, and Robert Venturi - reveals the beginning of a(...)
$59.95
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In this reassessment of postmodern architecture at the end of the twentieth century, Emmanuel Petit addresses the role of irony and finds a vitality and depth of dialectics largely ignored by historical critiques. A look at five individual architects - Peter Eisenman, Arata Isozaki, Rem Koolhaas, Stanley Tigerman, and Robert Venturi - reveals the beginning of a(...)
Publication:
avril 2013
avril 2013
Titre:
Irony : or, the self-critical opacity of postmodern architecture
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$59.95
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In this reassessment of postmodern architecture at the end of the twentieth century, Emmanuel Petit addresses the role of irony and finds a vitality and depth of dialectics largely ignored by historical critiques. A look at five individual architects - Peter Eisenman, Arata Isozaki, Rem Koolhaas, Stanley Tigerman, and Robert Venturi - reveals the beginning of a phenomenology of irony in architecture.
Irony : or, the self-critical opacity of postmodern architecture
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In this reassessment of postmodern architecture at the end of the twentieth century, Emmanuel Petit addresses the role of irony and finds a vitality and depth of dialectics largely ignored by historical critiques. A look at five individual architects - Peter Eisenman, Arata Isozaki, Rem Koolhaas, Stanley Tigerman, and Robert Venturi - reveals the beginning of a phenomenology of irony in architecture.
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livres
livres
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avril 2013
avril 2013
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135, [8] pages : illustrations ; 20 cm
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135, [8] pages : illustrations ; 20 cm
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New York : Museum of Modern Art ; Chicago : in association with the Graham Foundation for Advanced Studies in the Fine Arts ; Greenwich, Conn. : Distributed by New York Graphic Society, ©1966.
New York : Museum of Modern Art ; Chicago : in association with the Graham Foundation for Advanced Studies in the Fine Arts ; Greenwich, Conn. : Distributed by New York Graphic Society, ©1966.
Titre:
Complexity and contradiction in architecture / Robert Venturi ; with an introduction by Vincent Scully.
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135, [8] pages : illustrations ; 20 cm
Complexity and contradiction in architecture / Robert Venturi ; with an introduction by Vincent Scully.
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135, [8] pages : illustrations ; 20 cm
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livres
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New York : Museum of Modern Art ; Chicago : in association with the Graham Foundation for Advanced Studies in the Fine Arts ; Greenwich, Conn. : Distributed by New York Graphic Society, ©1966.
New York : Museum of Modern Art ; Chicago : in association with the Graham Foundation for Advanced Studies in the Fine Arts ; Greenwich, Conn. : Distributed by New York Graphic Society, ©1966.
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xcv pages : color plans ; 28 cm
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xcv pages : color plans ; 28 cm
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London : Koenig Books ; New York, NY : Distribution outside Europe, D.A.P./Distributed Art Publishers, ©2008.
London : Koenig Books ; New York, NY : Distribution outside Europe, D.A.P./Distributed Art Publishers, ©2008.
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Ornamental designs for the framing of doors = Ornamentale Entwürfe für die Rahmung von Türen / Pablo Bronstein.
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xcv pages : color plans ; 28 cm
Ornamental designs for the framing of doors = Ornamentale Entwürfe für die Rahmung von Türen / Pablo Bronstein.
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xcv pages : color plans ; 28 cm
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livres
livres
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London : Koenig Books ; New York, NY : Distribution outside Europe, D.A.P./Distributed Art Publishers, ©2008.
London : Koenig Books ; New York, NY : Distribution outside Europe, D.A.P./Distributed Art Publishers, ©2008.
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DÉCOR n° 01
DÉCOR n° 01
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$54.95
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Premier numéro de la grande revue annuelle de l'École des arts décoratifs de Paris, consacrée aux enjeux du décor contemporain. Traiter la notion de « décor » implique au moins deux présupposés : d'une part que la critique moderne de l'ornementation et du décoratif n'a pas eu raison du décor ; et d'autre part que la réhabilitation ludique et parfois cynique du décoratif(...)
$54.95
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Premier numéro de la grande revue annuelle de l'École des arts décoratifs de Paris, consacrée aux enjeux du décor contemporain. Traiter la notion de « décor » implique au moins deux présupposés : d'une part que la critique moderne de l'ornementation et du décoratif n'a pas eu raison du décor ; et d'autre part que la réhabilitation ludique et parfois cynique du décoratif(...)
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juin 2021
juin 2021
Titre:
DÉCOR n° 01
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$54.95
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Premier numéro de la grande revue annuelle de l'École des arts décoratifs de Paris, consacrée aux enjeux du décor contemporain. Traiter la notion de « décor » implique au moins deux présupposés : d'une part que la critique moderne de l'ornementation et du décoratif n'a pas eu raison du décor ; et d'autre part que la réhabilitation ludique et parfois cynique du décoratif dans le postmoderne ne suffit pas à rendre compte du décor contemporain. Le décor reste à l'œuvre, autant quand on prétend le dépasser que lorsque l'on le recouvre par l'emphase décorative. Il s'agit donc de réfléchir à la pratique actuelle des décorateur.ice.s, que ce soit au théâtre, au cinéma, dans les jeux vidéo ou la réalité augmentée, ainsi qu'aux propositions artistiques qui incorporent cette dimension. Mais plus largement, il s'agit de comprendre cette notion en un sens qui déborde celui du décor de fiction pour étendre sa désignation à l'ensemble de l'environnement quotidien et montrer à quel point le décor touche à l'organisation même du réel dans sa dimension esthétique, sociale et politique.
DÉCOR n° 01
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Premier numéro de la grande revue annuelle de l'École des arts décoratifs de Paris, consacrée aux enjeux du décor contemporain. Traiter la notion de « décor » implique au moins deux présupposés : d'une part que la critique moderne de l'ornementation et du décoratif n'a pas eu raison du décor ; et d'autre part que la réhabilitation ludique et parfois cynique du décoratif dans le postmoderne ne suffit pas à rendre compte du décor contemporain. Le décor reste à l'œuvre, autant quand on prétend le dépasser que lorsque l'on le recouvre par l'emphase décorative. Il s'agit donc de réfléchir à la pratique actuelle des décorateur.ice.s, que ce soit au théâtre, au cinéma, dans les jeux vidéo ou la réalité augmentée, ainsi qu'aux propositions artistiques qui incorporent cette dimension. Mais plus largement, il s'agit de comprendre cette notion en un sens qui déborde celui du décor de fiction pour étendre sa désignation à l'ensemble de l'environnement quotidien et montrer à quel point le décor touche à l'organisation même du réel dans sa dimension esthétique, sociale et politique.
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livres
livres
Publication:
juin 2021
juin 2021
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livres
livres
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$25.95
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Résumé:
This publication contests the tendency, still dominant in most social science, to reduce human geography to a reflective mirror, or, as Marx called it, an "unnecessary complication." Beginning with a critique of historicism and its constraining effects on the geographical imagination, Edward Soja builds on the work of Foucault, Berger, Giddens, Berman, Jameson and, above(...)
$25.95
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Résumé:
This publication contests the tendency, still dominant in most social science, to reduce human geography to a reflective mirror, or, as Marx called it, an "unnecessary complication." Beginning with a critique of historicism and its constraining effects on the geographical imagination, Edward Soja builds on the work of Foucault, Berger, Giddens, Berman, Jameson and, above(...)
Titre:
Postmodern geographies: the reassertion of space in critical social theory
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$25.95
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This publication contests the tendency, still dominant in most social science, to reduce human geography to a reflective mirror, or, as Marx called it, an "unnecessary complication." Beginning with a critique of historicism and its constraining effects on the geographical imagination, Edward Soja builds on the work of Foucault, Berger, Giddens, Berman, Jameson and, above all, Henri Lefebvre, to argue for a historical and geographical materialism, a radical rethinking of the dialectics of space, time and social being. The author charts the respatialization of social theory from the still unfolding encounter between Western Marxism and modern geography, through the current debates on the emergence of a postfordist regime of "flexible accumulation." The postmodern geography of Los Angeles, exposed in a provocative pair of essays, serves as a model in his account of the contemporary struggle for control over the social production of space.
Postmodern geographies: the reassertion of space in critical social theory
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$25.95
(disponible en magasin)
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This publication contests the tendency, still dominant in most social science, to reduce human geography to a reflective mirror, or, as Marx called it, an "unnecessary complication." Beginning with a critique of historicism and its constraining effects on the geographical imagination, Edward Soja builds on the work of Foucault, Berger, Giddens, Berman, Jameson and, above all, Henri Lefebvre, to argue for a historical and geographical materialism, a radical rethinking of the dialectics of space, time and social being. The author charts the respatialization of social theory from the still unfolding encounter between Western Marxism and modern geography, through the current debates on the emergence of a postfordist regime of "flexible accumulation." The postmodern geography of Los Angeles, exposed in a provocative pair of essays, serves as a model in his account of the contemporary struggle for control over the social production of space.
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livres
livres
Publication:
janvier 2011
janvier 2011
Sujet:
Théorie/ philosophie
Théorie/ philosophie
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livres
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Description:
96 pages : color illustrations ; 28 cm
Description:
96 pages : color illustrations ; 28 cm
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London [England] : Academy Editions ; New York, NY : St. Martin's Press, 1985.
London [England] : Academy Editions ; New York, NY : St. Martin's Press, 1985.
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Hampshire architecture (1974-1984).
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Description:
96 pages : color illustrations ; 28 cm
Hampshire architecture (1974-1984).
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Description:
96 pages : color illustrations ; 28 cm
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livres
livres
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London [England] : Academy Editions ; New York, NY : St. Martin's Press, 1985.
London [England] : Academy Editions ; New York, NY : St. Martin's Press, 1985.
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