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''Broken relations: infrastructure, aesthetic, and critique'' is a symptom and an outcome of a collectively experienced crisis — one that has produced a new, widespread sensorium for often invisible and overlooked infrastructures and highlighted their importance for all aspects of life, including politics, both local and global, and art and curatorial practices and their(...)
octobre 2023
Broken relations: infrastructure, asesthetics, and critique
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''Broken relations: infrastructure, aesthetic, and critique'' is a symptom and an outcome of a collectively experienced crisis — one that has produced a new, widespread sensorium for often invisible and overlooked infrastructures and highlighted their importance for all aspects of life, including politics, both local and global, and art and curatorial practices and their systemic analysis. The reader views infrastructures not only as material phenomena and physical networks but also as immaterial relations and symbolic actions, which, in visible and invisible ways, form our present and, hence, our horizon of aesthetic perception. The interplay between the material and ideological conditions of production, distribution, and presentation directs our gaze, schooled as it is in institutional critique, onto real and symbolic orders, sites, and economies. The book is based on a cooperation between the Academy of Fine Arts Leipzig and the Academy of Fine Arts Vienna: this started in Leipzig in 2021 with the lecture series and exhibition ''Broken relations: infrastructure and interruption'' and continued in Vienna in 2022 with the exhibition ''Conditions and frameworks: infrastructure as form and medium'' and the conference ''Broken relations: infrastructure, aesthetics, and critique''.
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In "The effluent eye," Rosemary J. Jolly argues for the decolonization of human rights, attributing their failure not simply to state and institutional malfeasance but to the very concept of human rights as anthropocentric-and, therefore, fatally shortsighted. In an engaging mix of literary and cultural criticism, Indigenous and Black critique, and substantive forays into(...)
The effluent eye: Narratives for decolonial right-making
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In "The effluent eye," Rosemary J. Jolly argues for the decolonization of human rights, attributing their failure not simply to state and institutional malfeasance but to the very concept of human rights as anthropocentric-and, therefore, fatally shortsighted. In an engaging mix of literary and cultural criticism, Indigenous and Black critique, and substantive forays into the medical humanities, Jolly proposes right-making in the demise of human rights. Using what she calls an "effluent eye," Jolly draws on "Fifth Wave" structural public health to confront the concept of human rights-one of the most powerful and widely entrenched liberal ideas. She builds on Indigenous sovereignty work from authors such as Robin Wall Kimmerer, Leanne Betasamosake Simpson, and Mark Rifkin as well as the littoral development in Black studies from Christine Sharpe, Saidiya Hartman, and Tiffany Lethabo King to engage decolonial thinking on a range of urgent topics such as pandemic history and grief; gender-based violence and sexual assault; and the connections between colonial capitalism and substance abuse, the Anthropocene, and climate change. Combining witnessed experience with an array of decolonial texts, Jolly argues for an effluent form of reading that begins with the understanding that the granting of "rights" to individuals is meaningless in a world compromised by pollution, poverty, and successive pandemics.
Théorie/ philosophie
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Examining these questions and many more, ''Plants in place'' is a collaborative study of vegetal phenomenology at the intersection of Edward S. Casey’s phenomenology of place and Michael Marder’s plant-thinking. It focuses on both the microlevel of the dynamic constitution of plant edges or a child’s engagement with moss and the macrolevel of habitats that include the(...)
Plants in place: A phenomelology of the vegetal
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Examining these questions and many more, ''Plants in place'' is a collaborative study of vegetal phenomenology at the intersection of Edward S. Casey’s phenomenology of place and Michael Marder’s plant-thinking. It focuses on both the microlevel of the dynamic constitution of plant edges or a child’s engagement with moss and the macrolevel of habitats that include the sociality of trees. This compelling portrait of plants and their places provides readers with new ways to appreciate the complexity and vitality of vegetal life. Eloquent and insightful, the book also shows how the worlds of plants can enhance our understanding and experience of place more broadly.
Théorie/ philosophie
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Ce livre se propose de sauver la puissance de dérangement que constitue l'œuvre de Guy Debord : y sont examinés entre autres la fin de l’art et la fin de la politique, sa lecture de Marx, sa contribution à la réflexion historique, les parallélismes possibles (ou pas) avec les écrits de Theodor Adorno, Hannah Arendt et Jean Baudrillard. Sa curieuse récupération par le(...)
Un complot permanent contre le monde entier : Essais sur Guy Debord
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Ce livre se propose de sauver la puissance de dérangement que constitue l'œuvre de Guy Debord : y sont examinés entre autres la fin de l’art et la fin de la politique, sa lecture de Marx, sa contribution à la réflexion historique, les parallélismes possibles (ou pas) avec les écrits de Theodor Adorno, Hannah Arendt et Jean Baudrillard. Sa curieuse récupération par le monde de l’art y est évoquée, ainsi que la question de son «actualité». Les gens les plus différents se revendiquent de Debord et des situationnistes : il convient de leur rappeler que l’auteur de «La Société du spectacle» a toujours voulu s’opposer au monde entier, ou presque. Après la lecture de ces textes, les historiens comme les artistes, les militants comme les cinéastes se demanderont s’ils ont bien fait de compter Debord parmi leurs amis.
Théorie/ philosophie
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Western thinking has long been dominated by essence, by a preoccupation with that which dwells in itself and delimits itself from the other. By contrast, Far Eastern thought is centred not on essence but on absence. The fundamental topos of Far Eastern thinking is not being but ‘the way’ (dao), which lacks the solidity and fixedness of essence. The difference between(...)
Absence: On the culture and philosophy of the Far East
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Western thinking has long been dominated by essence, by a preoccupation with that which dwells in itself and delimits itself from the other. By contrast, Far Eastern thought is centred not on essence but on absence. The fundamental topos of Far Eastern thinking is not being but ‘the way’ (dao), which lacks the solidity and fixedness of essence. The difference between essence and absence is the difference between being and path, between dwelling and wandering. '‘A Zen monk should be without fixed abode, like the clouds, and without fixed support, like water’', said the Japanese Zen master Dogen. Drawing on this fundamental distinction between essence and absence, Byung-Chul Han explores the differences between Western and Far Eastern philosophy, aesthetics, architecture and art, shedding fresh light on a culture of absence that may at first sight appear strange and unfamiliar to those in the West whose ways of thinking have been shaped for centuries by the preoccupation with essence.
Théorie/ philosophie
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Voici le premier livre en français sur Aby Warburg (1866-1929). Fondateur de la discipline iconologique, créateur du prestigieux institut qui porte son nom, Warburg a compté parmi ses disciples les plus célèbres historiens d'art du siècle : E. Panofsky, E. Wind, F. Saxl... Avec Warburg, l'histoire de l'art n'opère plus aux confins de l'anthropologie : elle en est une(...)
Aby Warburg et l'image en mouvement
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Voici le premier livre en français sur Aby Warburg (1866-1929). Fondateur de la discipline iconologique, créateur du prestigieux institut qui porte son nom, Warburg a compté parmi ses disciples les plus célèbres historiens d'art du siècle : E. Panofsky, E. Wind, F. Saxl... Avec Warburg, l'histoire de l'art n'opère plus aux confins de l'anthropologie : elle en est une catégorie. Plutôt que leur beauté, il met en évidence l'efficacité des images. Ses mots clés sont : survivance, magie, astrologie, empathie, animisme, totémisme... À trente ans, en 1896, par un geste raisonné de rupture, il se rend chez les Hopis du Nouveau-Mexique. Étrange parcours mélancolique d'un historien qui va trouver dans les rituels des Indiens pueblos les réponses aux énigmes que lui posait la Renaissance de l'Occident. À partir de 1924, Warburg élabore avec son Atlas intitulé Mnémosyne une «histoire de l'art sans texte» qui procède par juxtaposition de documents empruntés à tous les champs du savoir, esquisse mystérieuse d'un nouveau type d'exposé et d'exposition, loin des généalogies établies. L'ouvrage de Philippe-Alain Michaud n'est pas seulement un livre sur Warburg, c'est un livre avec Warburg - dont il prolonge les intuitions en introduisant dans son analyse le daguerréotype, les expériences de Marey, le cinéma primitif, la danse de Loïe Fuller, toutes pratiques qui affleurent dans l'interprétation warburgienne des images et qui en éclairent la singularité. Philippe-Alain Michaud, ancien élève de l'École normale de Saint-Cloud, est philosophe de formation. Warburg et l'image en mouvement est son premier livre.
Théorie/ philosophie
L'empire des signes
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Pourquoi le Japon ? Parce que c'est le pays de l'écriture: de tous les pays que l'auteur a pu connaître, le Japon est celui où il a rencontré le travail du signe le plus proche de ses convictions et de ses fantasmes, ou, si l'on préfère, le plus éloigné des dégoûts, des irritations et des refus que suscite en lui la sémiocratie occidentale. Le signe japonais est fort :(...)
L'empire des signes
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Pourquoi le Japon ? Parce que c'est le pays de l'écriture: de tous les pays que l'auteur a pu connaître, le Japon est celui où il a rencontré le travail du signe le plus proche de ses convictions et de ses fantasmes, ou, si l'on préfère, le plus éloigné des dégoûts, des irritations et des refus que suscite en lui la sémiocratie occidentale. Le signe japonais est fort : admirablement réglé, agencé, affiché, jamais naturalisé ou rationalisé. Le signe japonais est vide: son signifié fuit, point de dieu, de vérité, de morale au fond de ces signifiants qui règnent sans contrepartie. Et surtout, la qualité supérieure de ce signe, la noblesse de son affirmation et la grâce érotique dont il se dessine sont apposées partout, sur les objets et sur les conduites les plus futiles, celles que nous renvoyons ordinairement dans l'insignifiance ou la vulgarité. Le lieu du signe ne sera donc pas cherché ici du côté de ses domaines institutionnels: il ne sera question ni d'art, ni de folklore, ni même de «civilisation» (on n'opposera pas le Japon féodal au Japon technique). Il sera question de la ville, du magasin, du théâtre, de la politesse, des jardins, de la violence; il sera question de quelques gestes, de quelques nourritures, de quelques poèmes; il sera question des visages, des yeux et des pinceaux avec quoi tout cela s'écrit mais ne se peint pas.
Théorie/ philosophie
Walter Benjamin's Archive
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The works of the great literary and cultural critic Walter Benjamin are a reservoir of texts, commentaries, scraps and fragments of everyday life, arts and dreams. This beautifully designed book gives an insight into Benjamin's habits of collecting and archiving through some of his most personal documents. From notebooks in which every conceivable space is covered with(...)
Théorie/ philosophie
novembre 2007, London, New York
Walter Benjamin's Archive
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The works of the great literary and cultural critic Walter Benjamin are a reservoir of texts, commentaries, scraps and fragments of everyday life, arts and dreams. This beautifully designed book gives an insight into Benjamin's habits of collecting and archiving through some of his most personal documents. From notebooks in which every conceivable space is covered with handwriting, and a heartfelt traveller's series of postcards, to a sequence of Benjamin's own photographs, and lists that include a collection of his son Stefan's early words and sentences, this wonderful collection testifies to Benjamin's complex and kaleidoscopic passion for the ephemera of human life. Illustrated throughout in color and black and white.
Théorie/ philosophie
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Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted(...)
Lipstick traces: a secret history of the twentieth century
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Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted singer Johnny Rotten--where in the world of pop music did that come from? Looking for an answer, with a high sense
Théorie/ philosophie
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Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of(...)
Chaos, territory, art, Deleuze and the framing of the earth
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Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic. By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, FA(c)lix Guattari, and Jakob von UexkA1/4ll, we are able to grasp art's deep animal lineage. Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.
Théorie/ philosophie