Architecture is all over
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"Architecture is all over" investigates architecture's simultaneous diminishment and ubiquity in the early twenty-first century. As a diagnostic and tactical guide, this collection features original texts and design proposals from emerging and established scholars and practitioners in the fields of architecture, art, the history of science, media studies, and philosophy.(...)
Architecture is all over
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"Architecture is all over" investigates architecture's simultaneous diminishment and ubiquity in the early twenty-first century. As a diagnostic and tactical guide, this collection features original texts and design proposals from emerging and established scholars and practitioners in the fields of architecture, art, the history of science, media studies, and philosophy. Together these pieces probe architecture's relationship to liminal zones and immaterial systems, reframing instability and mutability as enduring qualities that form architecture's motive core—a perspectival shift that carries with it new possibilities for architectural agency and resistance.
Théorie de l’architecture
Reset Modernity!
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At the intersection of art, philosophy, and anthropology, ''Reset Modernity!'' has assembled almost sixty authors, most of whom have participated, in one way or another, in the ''Inquiry into Modes of Existence'' initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions ''Iconoclash''(...)
Reset Modernity!
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At the intersection of art, philosophy, and anthropology, ''Reset Modernity!'' has assembled almost sixty authors, most of whom have participated, in one way or another, in the ''Inquiry into Modes of Existence'' initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions ''Iconoclash'' and ''Making Things Public'', this book documents and completes what could be called a "thought exhibition:" ''Reset Modernity!'' was held at ZKM | Center for Art and Media Karlsruhe from April to August 2016.
Théorie de l’art
The Magazine
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This collection contextualizes the current condition and potential of the artist’s magazine, surveying the art worlds it has created and then superseded; the commercial media forms it has critically appropriated, intervened in, or subverted; the alternative DIY cultures it has brought into being; and the expanded fields of cultural production, exchange, and distribution(...)
The Magazine
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This collection contextualizes the current condition and potential of the artist’s magazine, surveying the art worlds it has created and then superseded; the commercial media forms it has critically appropriated, intervened in, or subverted; the alternative DIY cultures it has brought into being; and the expanded fields of cultural production, exchange, and distribution it continues to engender. In addition to surveying case studies of transformational magazines from the early 1960s onwards, The Magazine includes a wide-ranging archive of key editorial statements, from eighteenth-century Weimar to twenty-first century Bangkok, Cape Town, and Delhi.
Théorie de l’art
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The idea of public spaces—city parks, waterfront bike paths, and bustling squares—has long been associated with urban environments. Public Spheres After Socialism challenges this idea in light of the end of the cold war and the disintegration of the Soviet Union. Drawing together experiences from across Europe, this innovative volume reconsiders the public sphere as a(...)
Théorie de l’urbanisme
octobre 2008, Bristol, Chicago
Public spheres after socialism
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The idea of public spaces—city parks, waterfront bike paths, and bustling squares—has long been associated with urban environments. Public Spheres After Socialism challenges this idea in light of the end of the cold war and the disintegration of the Soviet Union. Drawing together experiences from across Europe, this innovative volume reconsiders the public sphere as a figurative, or mythical, location where members of society shape and determine its values. This book examines monuments, reconstruction, film, and new media to ask whether public spaces are viable in an age of globalized consumerism.
Théorie de l’urbanisme
Cyberfeminism index
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When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.The creation and use of this Index is a social(...)
Cyberfeminism index
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When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.The creation and use of this Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School’s Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.
Violent images
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Through the lens of various disciplines, ''Violent Images'' investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. The artists and scholars invited to contribute to this image-text publication discuss "The Whiteness of Silicon Valley's Digital Ecologies" (Stephanie Polsky); "Gender and(...)
novembre 2025
Violent images
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Through the lens of various disciplines, ''Violent Images'' investigates the politics of visual violence and its potential to provoke, subvert, and transform social, political, and media discourses. The artists and scholars invited to contribute to this image-text publication discuss "The Whiteness of Silicon Valley's Digital Ecologies" (Stephanie Polsky); "Gender and Violence in News Media and Photography" (Roland Bleiker and Emma Hutchison); transgressive image-making practices (Monica M. Haller), and more. All the contributors critically examine established and emerging visual concepts of violence, suggesting that our engagement with them is inherently political and more pressing than ever. Continuing Giulia Cordin and Eva Leitolf's exploration begun with ''Landscape with(out) Locus'', ''Violent Images'' explores the intricate relationship between visual culture and the social and economic conditions that influence and are influenced by it. It illustrates the need for a more critical and engaged approach to visual representation and communication in the context of local and global conflicts and crises.
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Art museums have emerged in recent decades as the most vibrant and popular of all cultural institutions. Though art museums have never been more popular, their direction and values are now being contested as never before, both in the media and in the art world itself. This engaging thematic history of the art museum from its inception in the eighteenth century to the(...)
The Art Museum from Boullée to Bilbao
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Art museums have emerged in recent decades as the most vibrant and popular of all cultural institutions. Though art museums have never been more popular, their direction and values are now being contested as never before, both in the media and in the art world itself. This engaging thematic history of the art museum from its inception in the eighteenth century to the present offers an essential framework for understanding contemporary debates as they have evolved in Europe and the United States. From the visionary museums of Boullée in the eighteenth century to the new Guggenheim in Bilbao and beyond, it explores key aspects of museum theory and practice: ideals and mission; architecture; collecting, classification, and display; the public; commercialism; and restitution and repatriation. The only single volume to give a comprehensive account of the issues critical to museums, the book also highlights the challenges they will face in the future.
Muséologie
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Aline B. Louchheim (1914–1972) was an art critic on assignment for the New York Times in 1953 when she first met the Finnish-American architect Eero Saarinen. She would become his wife and the driving force behind his rise to critical prominence. ''When Eero met his match'' draws on the couple’s personal correspondence to reconstruct the early days of their thrilling(...)
When Eero met his match: Aline Louchheim Saarinen and the making of an architect
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Aline B. Louchheim (1914–1972) was an art critic on assignment for the New York Times in 1953 when she first met the Finnish-American architect Eero Saarinen. She would become his wife and the driving force behind his rise to critical prominence. ''When Eero met his match'' draws on the couple’s personal correspondence to reconstruct the early days of their thrilling courtship and traces Louchheim’s gradual takeover of Saarinen’s public narrative in the 1950s, the decade when his career soared to unprecedented heights. Drawing on her own experiences as an architecture journalist on the receiving end of press pitches and then as a secret publicist for high-end architects, Eva Hagberg paints an unforgettable portrait of Louchheim while revealing the inner workings of a media world that has always relied on secrecy, friendship, and the exchange of favors. She describes how Louchheim codified the practices of architectural publicity that have become widely adopted today, and shows how, without Louchheim as his wife and publicist, Saarinen’s work would not have been nearly as well known. Providing a new understanding of postwar architectural history in the United States, ''When Eero met his match'' is both a poignant love story and a superb biographical study that challenges us to reconsider the relationship between fame and media representation, and the ways the narratives of others can become our own.
Théorie de l’architecture
The Baudrillard dictionary
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This is the first dictionary dedicated to the work of Jean Baudrillard (1929-2007). It explains and contextualises more than a hundred key concepts, terms, influences and topics within his thought. An essential reference for students and scholars of Baudrillard, it also serves as an overview of how his ideas have shaped a broad range of disciplines, from art,(...)
The Baudrillard dictionary
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This is the first dictionary dedicated to the work of Jean Baudrillard (1929-2007). It explains and contextualises more than a hundred key concepts, terms, influences and topics within his thought. An essential reference for students and scholars of Baudrillard, it also serves as an overview of how his ideas have shaped a broad range of disciplines, from art, architecture, film and photography to sociology, philosophy, human geography, media studies and cultural studies. The entries are written by 35 Baudrillard specialists from around the world, including Rex Butler, Mike Gane, Gary Genosko, Victoria Grace, Diane Rubenstein and Andrew Wernick.
Théorie/ philosophie
Counterblast, 1954 edition
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In the same year that Wyndham Lewis published Self Condemned, Marshall McLuhan took inspiration from Lewis’s journal Blast and produced Counterblast, intended, like Self Condemned, to shake the city of Toronto out of its smugness, complacency, and spiritual torpor. This publication spirals beyond its inspiration, pinpointing the paradox of creative and destructive(...)
Counterblast, 1954 edition
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In the same year that Wyndham Lewis published Self Condemned, Marshall McLuhan took inspiration from Lewis’s journal Blast and produced Counterblast, intended, like Self Condemned, to shake the city of Toronto out of its smugness, complacency, and spiritual torpor. This publication spirals beyond its inspiration, pinpointing the paradox of creative and destructive changes issuing from the same social forces, as Lewis had noted, but at the same time revealing the origins of McLuhan’s cultural probes, the basis of the model for media analysis that would find full expression in his writings through more than thirty years following the appearance of Counterblast.
Théorie/ philosophie