＜p＞＜strong＞How grids paved the way for our biological understanding of organisms＜/strong＞＜/p＞ ＜p＞As one of the most visual sciences, biology has an aesthetic dimension that lends force and persuasion to scientific arguments: how things are arranged on a page, how texts are interspersed with images, and how images are composed reflect deep-seated beliefs about how life exists on Earth. ＜em＞Biology in the Grid＜/em＞ traces how our current understanding of life and genetics emerged from the pervasive nineteenth- and twentieth-century graphic form of the grid, which allowed disparate pieces of information to form what media theorist Vil?m Flusser called “technical images.”＜/p＞ ＜p＞Phillip Thurtle explains how the grid came to dominate biology in the twentieth century, transforming biologists’ beliefs about how organisms were constructed. He demonstrates how this shift in our understanding of biological grids enabled new philosophies in endeavors such as advertising, entertainment, and even political theory. The implications of the arguments in ＜em＞Biology in the Grid＜/em＞ are profound, touching on matters as fundamental as desire, our understanding of our bodies, and our view of how society is composed. Moreover, Thurtle’s beautifully written, tightly focused arguments allow readers to apply his claims to new disciplines and systems.＜/p＞ ＜p＞Bristling with insight and potential, ＜em＞Biology in the Grid＜/em＞ ultimately suggests that such a grid-organized understanding of natural life inevitably has social and political dimensions, with society recognized as being made of interchangeable, regulated parts rather than as an organic whole.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Rowohlt E-Book Theater＜br /＞ ≪John von D?ffel hat aus dem ?K?nig ?dipus von Sophokles?, den Aischylos- und Euripides-Dramen ?Sieben gegen Theben? und ?Die Ph?nizierinnen? sowie der ?Antigone des Sophokles? eine schnell packende, dicht verbundene Trilogie gesponnen. Die Trag?die des ?dipus verbindet sich hier in drei pausenlosen Akten zur Gesamttrag?die des Mannes ?... Es ist ein Familienfluchdrama wie das der Atriden, ein Inzestkrimi, ein Kriegsst?ck und am Ende ein Diskurs ?ber Staatsraison, Religion, Kinderglaube ? auch ?ber Recht und Freiheit, Schuld und S?hne ... Die Generation St?phane Hessel, zweieinhalbtausend Jahre jung.≫ (Der Tagesspiegel)＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A new and challenging perspective on Nazi exhibition design＜/strong＞＜/p＞ ＜p＞In one of the most comprehensive analyses ever written on the subject, Michael Tymkiw reassesses the relationship between Nazi exhibition design and modernism. While National Socialist exhibitions are widely understood as platforms for attacking modern art, they also served as sites of surprising formal experimentation among artists, architects, and others, who often drew upon and reconfigured the practices and principles of modernism when designing exhibition spaces and the objects within. In this book, Tymkiw reveals that a central motivation behind such experimentation was the interest in provoking what he calls "engaged spectatorship"ーattempts to elicit experiences among exhibition-goers that would pique their desire to become involved in wider processes of social and political change.＜/p＞ ＜p＞For historians of art, architecture, performance, and other forms of visual culture, ＜em＞Nazi Exhibition Design and Modernism＜/em＞ unravels long-held assumptions, particularly concerning the ideological stakes of participation.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞French philosopher Gilles Deleuze is known as a thinker of creation, joyous affirmation, and rhizomatic assemblages. In this short book, Andrew Culp polemically argues that this once-radical canon of joy has lost its resistance to the present. Concepts created to defeat capitalism have been recycled into business mantras that joyously affirm “Power is vertical; potential is horizontal!”＜/p＞ ＜p＞Culp recovers the Deleuze’s forgotten negativity. He unsettles the prevailing interpretation through an underground network of references to conspiracy, cruelty, the terror of the outside, and the shame of being human. Ultimately, he rekindles opposition to what is intolerable about this world.＜/p＞ ＜p＞Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How new media art informed by feminism yields important and original insights about interacting with technologies＜/strong＞＜/p＞ ＜p＞In ＜em＞A Capsule Aesthetic＜/em＞, Kate Mondloch examines how new media installation art intervenes in the fields of technoscience and new materialism, showing how three diverse artistsーPipilotti Rist, Patricia Piccinini, and Mariko Moriーcontribute to the urgent conversation about everyday technology and the ways it constructs our bodies.＜/p＞ ＜p＞＜em＞A Capsule Aesthetic＜/em＞ establishes the unique insights that feminist theory offers to new media art and new materialisms, offering a fuller picture of human?nonhuman relations. In-depth readings of works by Rist, Piccinini, and Mori explore such questions as the role of the contemporary art museum in our experience of media art, how the human is conceived of by biotechnologies, and how installation art can complicate and enrich contemporary science’s understanding of the brain. With vivid, firsthand descriptions of the artworks, Mondloch takes the reader inside immersive installation pieces, showing how they allow us to inhabit challenging theoretical concepts and nonanthropomorphic perspectives.＜/p＞ ＜p＞Striving to think beyond the anthropocentric and fully consider the material world, ＜em＞A Capsule Aesthetic＜/em＞ brings new approaches to questions surrounding our technology-saturated culture and its proliferation of human-to-nonhuman interfaces.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An examination of Japanese contemporary art through the lens of ecocriticism and environmental history＜/strong＞＜/p＞ ＜p＞Collectively referred to by the word ＜em＞tsuchi＜/em＞, earthy materials such as soil and clay are prolific in Japanese contemporary art. Highlighting works of photography, ceramics, and installation art, Bert Winther-Tamaki explores the many aesthetic manifestations of ＜em＞tsuchi＜/em＞ and their connection to the country’s turbulent environmental history, investigating how Japanese artists have continually sought a passionate and redemptive engagement with earth.＜/p＞ ＜p＞In the seven decades following 1955, Japan has experienced severe environmental degradation as a result of natural disasters, industrial pollution, and nuclear irradiation. Artists have responded to these ongoing catastrophes through modes of “mudlarking” and “muckracking,” utilizing raw elements from nature to establish deeper contact with the primal resources of their world and expose its unfettered contamination. Providing a comparative assessment of more than seventy works of art, this study reveals Japanese artists’ engagement with a richly diverse repertoire of earthy materialities, elucidating their aesthetic properties, changing conditions, and cultural significance.＜/p＞ ＜p＞By focusing on the role of ＜em＞tsuchi＜/em＞ as a convergence point for a wide range of creative practices, this book offers a critical reassessment of contemporary art in Japan and its intrinsic relationship to the environment. Situating art within the context of ecology and urbanization, ＜em＞Tsuchi＜/em＞ shows artists striving to explore and reprocess raw forms of earth beneath the corruptions of human activity.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Transporting readers from derelict homesteads to imperiled harbors, postindustrial ruins to Cold War test sites, ＜em＞Curated Decay＜/em＞ presents an unparalleled provocation to conventional thinking on the conservation of cultural heritage. Caitlin DeSilvey proposes rethinking the care of certain vulnerable sites in terms of ecology and entropy, and explains how we must adopt an ethical stance that allows us to collaborate withーrather than defend againstーnatural processes.＜/p＞ ＜p＞＜em＞Curated Decay＜/em＞ chronicles DeSilvey’s travels to places where experiments in curated ruination and creative collapse are under way, or under consideration. It uses case studies from the United States, Europe, and elsewhere to explore how objects and structures produce meaning not only in their preservation and persistence, but also in their decay and disintegration. Through accessible and engaging discussion of specific places and their stories, it traces how cultural memory is generated in encounters with ephemeral artifacts and architectures.＜/p＞ ＜p＞An interdisciplinary reframing of the concept of the ruin that combines historical and philosophical depth with attentive storytelling, ＜em＞Curated Decay＜/em＞ represents the first attempt to apply new theories of materiality and ecology to the concerns of critical heritage studies.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An urgent volume of essays engages the Gothic to advance important perspectives on our geological era＜/strong＞＜/p＞ ＜p＞What can the Gothic teach us about our current geological era? More than just spooky, moonlit castles and morbid graveyards, the Gothic represents a vibrant, emergent perspective on the Anthropocene. In this volume, more than a dozen scholars move beyond longstanding perspectives on the Anthropoceneーsuch as science fiction and apocalyptic narrativesーto show that the Gothic offers a unique (and dark) interpretation of events like climate change, diminished ecosystems, and mass extinction.＜/p＞ ＜p＞Embracing pop cultural phenomena like ＜em＞True Detective＜/em＞, ＜em＞Jaws＜/em＞, and ＜em＞Twin Peaks＜/em＞, as well as topics from the New Weird and prehistoric shark fiction to ruin porn and the “monstroscene,” ＜em＞Dark Scenes from Damaged Earth＜/em＞ demonstrates the continuing vitality of the Gothic while opening important new paths of inquiry. These essays map a genealogy of the Gothic while providing fresh perspectives on the ongoing climate chaos, the North/South divide, issues of racialization, dark ecology, questions surrounding environmental justice, and much more.＜/p＞ ＜p＞Contributors: Fred Botting, Kingston U; Timothy Clark, U of Durham; Rebecca Duncan, Linnaeus U; Michael Fuchs, U of Oldenburg, Germany; Esthie Hugo, U of Warwick; Dawn Keetley, Lehigh U; Laura R. Kremmel, South Dakota School of Mines and Technology; Timothy Morton, Rice U; Barry Murnane, U of Oxford; Jennifer Schell, U of Alaska Fairbanks; Lisa M. Vetere, Monmouth U; Sara Wasson, Lancaster U; Jeffrey Andrew Weinstock, Central Michigan U.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Throughout his career, the influential new media theorist Vil?m Flusser kept the idea of gesture in mind: that people express their being in the world through a sweeping range of movements. He reconsiders familiar actionsーfrom speaking and painting to smoking and telephoningーin terms of particular movement, opening a surprising new perspective on the ways we share and preserve meaning. A gesture may or may not be linked to specialized apparatus, though its form crucially affects the person who makes it.＜/p＞ ＜p＞These essays, published here as a collection in English for the first time, were written over roughly a half century and reflect both an eclectic array of interests and a durable commitment to phenomenological thought. Defining gesture as “a movement of the body or of a tool attached to the body for which there is no satisfactory causal explanation,” Flusser moves around the topic from diverse points of view, angles, and distances: at times he zooms in on a modest, ordinary movement such as taking a photograph, shaving, or listening to music; at others, he pulls back to look at something as vast and varied as human “making,” embracing everything from the fashioning of simple tools to mass manufacturing. But whatever the gesture, Flusser analyzes it as the expression of a particular form of consciousness, that is, as a particular relationship between the world and the one who gestures.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In the 1950s the brethren at the Benedictine Abbey of Saint John the Baptist in Collegeville, Minnesotaーthe largest Benedictine abbey in the worldーdecided to expand their campus, including building a new church. From a who’s who of architectural starsーsuch as Walter Gropius, Richard Neutra, Pietro Belluschi, Barry Byrne, and Eero Saarinenーthe Benedictines chose a former member of the Bauhaus, Marcel Breuer. In collaboration with the monks, this untested religious designer produced a work of modern sculptural concrete architecture that reenvisioned what a church could be and set a worldwide standard for midcentury religious design.＜/p＞ ＜p＞＜em＞Saint John’s Abbey Church＜/em＞ documents the dialogue of the design process, as Breuer instructed the monks about architecture and they in turn guided him and his associates in the construction of a sacred space in the crucial years of liturgical reform. A reading of letters, drawings, and other archival materials shows how these conversations gave shape to design elements from the church’s floor plan to the liturgical furnishings, art, and incomparable stained glass installed within it. The book offers a rare detailed view of how a patron and architect work together in a successful building campaignーone that, in this case, lasted for two decades and resulted in designs for twelve buildings, ten of which were completed.＜/p＞ ＜p＞The post?World War II years were critical in the development of religious and architectural experiences in the United Statesーexperiences that came together in the construction of Saint John’s Abbey and University Church and that find their full expression in Victoria M. Young’s account of the process. Using the liturgy of the mid-twentieth century as a cornerstone for understanding the architecture produced to support it, her book showcases the importance of modernism in the design of sacred space, and of Marcel Breuer’s role in setting the standard.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Tradition and Transformation in Mohiniyattam Dance: An Ethnographic History＜/em＞ demonstrates how Mohiniyattam, a form previously stigmatized, was reinvented as a sign of traditional Keralite womanhood. The book traces how the emergence of Mohiniyattam as a traditional form of dance based on a feminine aesthetic was synchronistic with the outlawing of polyandrous marriage practices and devadasi practices, as well as changes in matrilineal inheritance and the outlawing of and reforms in women’s dress customs in Kerala, India. These layers of history and cultural meaning permitted Mohiniyattam’s renaissance as a sign of female grace and tradition. Throughout, Lemos argues that practicing and learning movement is a gateway to understanding a system of semiosis. Danced movement itself can be a locust, a bellwether, and even an agent of social change.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Connecting interactive cinema to media ethics and global citizenship＜/strong＞＜/p＞ ＜p＞＜em＞Interactive Cinema＜/em＞ explores various cinematic practices that work to transform what is often seen as a primarily receptive activity into a participatory, multimedia experience. Surveying a multitude of unorthodox approaches throughout the history of motion pictures, Marina Hassapopoulou offers insight into a range of largely ephemeral and site-specific projects that consciously assimilate viewers into their production.＜/p＞ ＜p＞Analyzing examples of early cinema, Hollywood B movies, museum and gallery installations, virtual-reality experiments, and experimental web-based works, Hassapopoulou travels across numerous platforms, highlighting a diverse array of strategies that attempt to unsettle the allegedly passive spectatorship of traditional cinema. Through an exploration of these radically inventive approaches to the medium, many of which emerged out of sociopolitical crises and periods of historical transition, she works to expand notions of interactivity by considering it in both technological and phenomenological terms.＜/p＞ ＜p＞Deliberately revising and expanding Eurocentric scholarship to propose a much broader, transnational scope, the book emphasizes the ethical dimensions of interactive media and their links to larger considerations around community building, citizenship, and democracy. By combining cutting-edge theory with updated conventional film studies methodologies, ＜em＞Interactive Cinema＜/em＞ presses at the conceptual limits of cinema and offers an essential road map to the rapidly evolving landscape of contemporary media.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Investigates the connections between jazz, sexual identity, and radical black politics＜/strong＞＜/p＞ ＜p＞In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. ＜em＞In the Break＜/em＞ is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performanceーculture, politics, sexuality, identity, and blackness itselfーis improvisation.＜/p＞ ＜p＞For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other.＜/p＞ ＜p＞Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplinesーsemiotics, deconstruction, genre theory, social history, and psychoanalysisーto understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. ＜em＞In the Break＜/em＞ is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A radical critique of architecture that places disability at the heart of the built environment＜/strong＞＜/p＞ ＜p＞Disability critiques of architecture usually emphasize the need for modification and increased access, but ＜em＞The Architecture of Disability＜/em＞ calls for a radical reorientation of this perspective by situating experiences of impairment as a new foundation for the built environment. With its provocative proposal for “the construction of disability,” this book fundamentally reconsiders how we conceive of and experience disability in our world.＜/p＞ ＜p＞Stressing the connection between architectural form and the capacities of the human body, David Gissen demonstrates how disability haunts the history and practice of architecture. Examining various historic sites, landscape designs, and urban spaces, he deconstructs the prevailing functionalist approach to accommodating disabled people in architecture and instead asserts that physical capacity is essential to the conception of all designed space.＜/p＞ ＜p＞By recontextualizing the history of architecture through the discourse of disability, ＜em＞The Architecture of Disability＜/em＞ presents a unique challenge to current modes of architectural practice, theory, and education. Envisioning an architectural design that fully integrates disabled persons into its production, it advocates for looking beyond traditional notions of accessibility and shows how certain incapacities can offer us the means to positively reimagine the roots of architecture.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An examination of how concepts of “the savage” facilitated technological approaches to modernist design＜/strong＞＜/p＞ ＜p＞Attempting to derive aesthetic systems from natural structures of human cognition, designers looked toward the “savage mind”ーa way of thinking they associated with a racialized subaltern. In ＜em＞Savage Mind to Savage Machine＜/em＞, Ginger Nolan uncovers an enduring relationship between “the savage” and the development of technology and its wide-ranging impact on society, including in the fields of architecture and urbanism, the industrial arts, and digital design.＜/p＞ ＜p＞Nolan focuses on the relationship between the applied arts and the structuralist social sciences, proposing that the late-nineteenth-century rise of Freudian psychology, ethnology, and structuralist linguistics offered innovations and new opportunities in studying human cognition. She looks at institutions ranging from the Public Industrial Arts School of Philadelphia and the Weimar Bauhaus to the MIT Media Lab and the Centre Mondial Informatique, revealing a persistent theme of twentieth-century design: to supplant language with more subliminal, aesthetic modes of communication, thereby inculcating a deep intimacy between human habit and new technologies of production, communication, and consumption.＜/p＞ ＜p＞This book’s ultimate critique is of the development of the ergonomics of the spiritーthe design of the human cognitive apparatus in relation to new aesthetic technologies. Nolan sees these ergonomics as a means of depoliticizing societies through aesthetic technologies intended to seamlessly integrate humans into the programs of capitalist modernity. Revising key modernist design narratives, ＜em＞Savage Mind to Savage Machine＜/em＞ provides a deep historical foundation for understanding our contemporary world.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞Cairo Pop＜/em＞ is the first book to examine the dominant popular music of Egypt, ＜em＞shababiyya＜/em＞. Scorned or ignored by scholars and older Egyptians alike, ＜em＞shababiyya＜/em＞ plays incessantly in Cairo, even while Egyptian youth joined in mass protests against their government, which eventually helped oust longtime Egyptian president Hosni Mubarak in early 2011. Living in Cairo at the time of the revolution, Daniel Gilman saw, and more importantly heard, the impact that popular music can have on culture and politics. Here he contributes a richly ethnographic analysis of the relationship between mass-mediated popular music, modernity, and nationalism in the Arab world.＜/p＞ ＜p＞Before ＜em＞Cairo Pop＜/em＞, most scholarship on the popular music of Egypt focused on musiqa al-?arab. Immensely popular in the 1950s and ’60s and even into the ’70s, ＜em＞musiqa al-?arab＜/em＞ adheres to Arabic musical theory, with non-Western scales based on tunings of the strings of the ＜em＞‘ud＜/em＞ーthe lute that features prominently, nearly ubiquitously, in Arabic music. However, today one in five Egyptians is between the ages of 15 and 24; half the population is under the age of 25. And ＜em＞shababiyya＜/em＞ is their music of choice. By speaking informally with dozens of everyday young people in Cairo, Gilman comes to understand shababiyya as more than just a musical genre: sometimes it is for dancing or seduction, other times it propels social activism, at others it is simply sonic junk food.＜/p＞ ＜p＞In addition to providing a clear Egyptian musical history as well as a succinct modern political history of the nation, ＜em＞Cairo Pop＜/em＞ elevates the aural and visual aesthetic of ＜em＞shababiyya＜/em＞ーand its role in the lives of a nation’s youth.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞The Cinema and Its Shadow＜/em＞ argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial imageーthe cinema’s “shadow,” which figures both the material reality of the screen image and its racist past.＜/p＞ ＜p＞Discussing early “race subjects,” Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema’s development, including the advent of narratives, feature films, and sound. In close readings of such films as ＜em＞The Cheat, Shadows,＜/em＞ and ＜em＞Hallelujah!＜/em＞, Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film.＜/p＞ ＜p＞Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜em＞All Thoughts Are Equal＜/em＞ is both an introduction to the work of French philosopher Fran?ois Laruelle and an exercise in nonhuman thinking. For Laruelle, standard forms of philosophy continue to dominate our models of what counts as exemplary thought and knowledge. By contrast, what Laruelle calls his “non-standard” approach attempts to bring democracy into thought, because all forms of thinkingーincluding the nonhumanーare equal.＜/p＞ ＜p＞John ? Maoilearca examines how philosophy might appear when viewed with non-philosophical and nonhuman eyes. He does so by refusing to explain Laruelle through orthodox philosophy, opting instead to follow the structure of a film (Lars von Trier’s documentary ＜em＞The Five Obstructions＜/em＞) as an example of the non-standard method. Von Trier’s film is a meditation on the creative limits set by film, both technologically and aesthetically, and how these limits can push our experience of filmーand of ourselvesーbeyond what is normally deemed “the perfect human.”＜/p＞ ＜p＞＜em＞All Thoughts Are Equal＜/em＞ adopts film’s constraints in its own experiment by showing how Laruelle’s radically new style of philosophy is best presented through our most nonhuman form of thoughtーthat found in cinema.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Shin Sang-ok (1926?2006) was arguably the most important Korean filmmaker of the postwar era. Over seven decades, he directed or produced nearly 200 films, including A ＜em＞Flower in Hell＜/em＞ (1958) and ＜em＞Pulgasari＜/em＞ (1985), and his career took him from late-colonial Korea to postwar South and North Korea to Hollywood. Notoriously crossing over to the North in 1978, Shin made a series of popular films under Kim Jong-il before seeking asylum in 1986 and resuming his career in South Korea and Hollywood.＜/p＞ ＜p＞In ＜em＞Split Screen Korea＜/em＞, Steven Chung illuminates the story of postwar Korean film and popular culture through the first in-depth account in English of Shin’s remarkable career. Shin’s films were shaped by national division and Cold War politics, but Split Screen Korea finds surprising aesthetic and political continuities across not only distinct phases in modern South Korean history but also between South and North Korea. These are unveiled most dramatically in analysis of the films Shin made on opposite sides of the DMZ. Chung explains how a filmmaking sensibility rooted in the South Korean market and the global style of Hollywood could have been viable in the North.＜/p＞ ＜p＞Combining close readings of a broad range of films with research on the industrial and political conditions of Korean film production, ＜em＞Split Screen Korea＜/em＞ shows how cinematic styles, popular culture, and intellectual discourse bridged the divisions of postwar Korea, raising new questions about the implications of political partition.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Washington, D.C. has long been known as a frustrating and sometimes confusing city for its residents to call home. The monumental core of federal office buildings, museums, and the National Mall dominates the city’s surrounding neighborhoods and urban fabric. For much of the postwar era, Washingtonians battled to make the city their own, fighting the federal government over the basic question of home rule, the right of the city’s residents to govern their local affairs.＜/p＞ ＜p＞In ＜em＞Historic Capital＜/em＞, urban historian Cameron Logan examines how the historic preservation movement played an integral role in Washingtonians’ claiming the city as their own. Going back to the earliest days of the local historic preservation movement in the 1920s, Logan shows how Washington, D.C.’s historic buildings and neighborhoods have been a site of contestation between local interests and the expansion of the federal government’s footprint. He carefully analyzes the long history of fights over the right to name and define historic districts in Georgetown, Dupont Circle, and Capitol Hill and documents a series of high-profile conflicts surrounding the fate of Lafayette Square, Rhodes Tavern, and Capitol Park, SW before discussing D.C. today.＜/p＞ ＜p＞Diving deep into the racial fault lines of D.C., ＜em＞Historic Capital＜/em＞ also explores how the historic preservation movement affected poor and African American residents in Anacostia and the U Street and Shaw neighborhoods and changed the social and cultural fabric of the nation’s capital. Broadening his inquiry to the United States as a whole, Logan ultimately makes the provocative and compelling case that historic preservation has had as great an impact on the physical fabric of U.S. cities as any other private or public sector initiative in the twentieth century.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞On Christmas Eve, Mrs. Claus is usually alone as Santa delivers toys to children around the world. But this year, she finds herself with a mischievous puppy who brings endless adventures to her night.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?＜em＞Singular Images, Failed Copies＜/em＞ historicizes the conceptualization of photography in that era as part of a major historical change.＜/p＞ ＜p＞Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today’s prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot’s accounts on the removal of the “artist’s hand” in favor of “the pencil of nature” did ＜em＞not＜/em＞ mark a shift from manual to “mechanical” and more accurate or “objective” systems of representation.＜/p＞ ＜p＞In ＜em＞Singular Images, Failed Copies＜/em＞, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Interpreting the meaning of hospitality in an unwelcoming political moment＜/strong＞＜/p＞ ＜p＞Amid xenophobic challenges to America’s core value of welcoming the tired and the poor, Irina Aristarkhova calls for new forms of hospitality in her engagement with the works of eight international artists. In this first monograph on hospitality in contemporary art, Aristarkhova employs a feminist perspective to critically explore the artworks of Ana Prva?ki, Faith Wilding, Lee Mingwei, Kathy High, Mithu Sen, Pippa Bacca, Silvia Moro, and Ken Aptekar and asks who, how, and what determines who is worthy of our welcome.＜/p＞ ＜p＞Spanning a diverse range of contemporary art practices, ＜em＞Arrested Welcome＜/em＞ shows how artists challenge our existing notions of hospitalityーculturally, philosophically, and politically. From the role of “microcourtesies” in social change to the portrayal of waiting as a feminist endeavor, Aristarkhova looks deeply into topics such as gender stereotypes of welcome, ways to reclaim civility, and the means by which guests (sometimes human, sometimes animal) push the limits of our hosting traditions.＜/p＞ ＜p＞Blending a feminist analysis of hospitality with in-depth case studies on how contemporary artists stimulate personal reflection and political engagement, Aristarkhova initiates these important conversations at a critical time of national and international hospitality crises.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Popular writing about specific artworks seldom goes beyond promoting a given piece and explaining how it operates, while scholars and critics remain unsure about how to interpret and evaluate them. This is where Roberto Simanowski intervenes, demonstrating how such critical work can be done.＜/p＞ ＜p＞＜em＞Digital Art and Meaning＜/em＞ offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. For instance, Simanowski deciphers the complex meaning of words that not only form an image on a screen but also react to the viewer’s behavior; images that are progressively destroyed by the human gaze; text machines generating nonsense sentences out of a Kafka story; and a light show above Mexico City’s historic square, created by Internet users all over the world.＜/p＞ ＜p＞Simanowski combines these illuminating explanations with a theoretical discussion that employs art philosophy and history to achieve a deeper understanding of each particular example of digital art and, ultimately, of the genre as a whole.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An expansive and revelatory study of Robert Smithson’s life and the hidden influences on his iconic creations＜/strong＞＜/p＞ ＜p＞This first biography of the major American artist Robert Smithson, famous as the creator of the ＜em＞Spiral Jetty,＜/em＞ deepens understanding of his art by addressing the potent forces in his life that were shrouded by his success, including his suppressed early history as a painter; his affiliation with Christianity, astrology, and alchemy; and his sexual fluidity. Integrating extensive investigation and acuity, Suzaan Boettger uncovers Smithson’s story and, with it, symbolic meanings across the span of his painted and drawn images, sculptures, essays, and earthworks up to the ＜em＞Spiral Jetty＜/em＞ and beyond, to the circumstances leading to what became his final work, ＜em＞Amarillo Ramp.＜/em＞＜/p＞ ＜p＞While Smithson is widely known for his monumental earthwork at the edge of the Great Salt Lake, ＜em＞Inside the Spiral＜/em＞ delves into the arc of his artistic production, recognizing it as a response to his family’s history of loss, which prompted his birth and shaped his strange intelligence. Smithson configured his personal conflicts within painterly depictions of Christ’s passion, the rhetoric of science fiction, imagery from occult systems, and the impersonal posture of conceptual sculpture. Aiming to achieve renown, he veiled his personal passions and transmuted his professional persona, becoming an acclaimed innovator and fierce voice in the New York art scene.＜/p＞ ＜p＞Featuring copious illustrations never before published of early work that eluded Smithson’s destruction, as well as photographs of Smithson and his wife, the noted sculptor Nancy Holt, and recollections from nearly all those who knew him throughout his life, Inside the Spiral offers unprecedented insight into the hidden impulses of one of modern art’s most enigmatic figures. With great sensitivity to the experiences of loss and existential strife that defined his distinct artistic language, this biographical analysis provides an expanded view of Smithson’s iconic art pilgrimage site and the experiences and works that brought him to its peculiar blood red water.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞Media screensーfilm, video, and computer screensーhave increasingly pervaded both artistic production and everyday life since the 1960s. Yet the nature of viewing artworks made from these media, along with their subjective effects, remains largely unexplored. ＜em＞Screens＜/em＞ addresses this gap, offering a historical and theoretical framework for understanding screen-reliant installation art and the spectatorship it evokes.＜/p＞ ＜p＞Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, Kate Mondloch traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture.＜/p＞ ＜p＞Mondloch identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result she proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞“Music is the brute that shows.＜br /＞ It is the avowal of materials,＜br /＞ And stutters between its clanging of things.”＜/p＞ ＜p＞How should one think this musical groove of the poem whose back and forth motion shuffles the material of ordinary language and revives the frozen speech of old chants? This question by renowned French thinker Jacques Ranci?re is the entry point for his earnest and careful reading of one of France’s most singular and important contemporary poets. For Ranci?re, Philippe Beck sets himself the task of a poetry ＜em＞after＜/em＞ poetry whereby Beck re-writes and transforms the poems of the past, reanimating faded genres, poetizing the prose of popular tales and even commentaries regarding poems. To read and follow this groove traced as such cannot simply be done by way of taking the poems as objects of study. It supposes a dialogue regarding what these poems attempt to do as well as an idea of a poetry which serves as their foundation. This book on Philippe Beck is thus also a book made with him.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞A timely examination of the attachments we form to objects and how they might be used to reduce waste＜/strong＞＜/p＞ ＜p＞Rampant consumerism has inundated our planet with pollution and waste. Yet attempts to create environmentally friendly forms of consumption are often co-opted by corporations looking to sell us more stuff. In ＜em＞Things Worth Keeping＜/em＞, Christine Harold investigates the attachments we form to the objects we buy, keep, and discard, and explores how these attachments might be marshaled to create less wasteful practices and balance our consumerist and ecological impulses.＜/p＞ ＜p＞Although all economies produce waste, no system generates as much or has become so adept at hiding its excesses as today’s mode of global capitalism. This book suggests that managing the material excesses of our lives as consumers requires us to build on, rather than reject, our desire for and attraction to objects. Increasing environmental awareness on its own will be ineffective at reversing ecological devastation, Harold argues, unless it is coupled with a more thorough understanding of how and why we love the things that imbue our lives with pleasure, meaning, and utility.＜/p＞ ＜p＞From Marie Kondo’s method for decluttering that asks whether the things in our lives “spark joy” to the advent of emotionally durable design, which seeks to reduce consumption and waste by increasing the meaningfulness of the relationship between user and product, Harold explores how consumer psychology and empathetic design can transform our perception of consumer products from disposable to interconnected. An urgent call for rethinking consumerism, ＜em＞Things Worth Keeping＜/em＞ shows that by recognizing our responsibility for the things we produce, we can become better stewards of the planet.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Who’s worse, the Young-Girl or the Man-Child?＜/strong＞＜/p＞ ＜p＞Tiqqun’s ＜em＞Preliminary Materials for a Theory of the Young-Girl＜/em＞ is a controversial work of anticapitalist philosophy that has attracted musicians, playwrights, feminist theorists, and men's-rights activists since its publication in 1999. More than twenty years after its publication the international reverberation of Young-Girls shows no signs of weakening.＜/p＞ ＜p＞＜em＞Young-Girls in Echoland: #Theorizing Tiqqun＜/em＞ is a guide to this ongoing postdigital conversation, engaging with artworks and textual criticism provoked by Tiqqun’s audacious, arguably misogynistic textual voice. Heather Warren-Crow and Andrea Jonsson show how Tiqqun’s polarizing figure has grown and matured but also stayed unapologetically girly in the works of artists and scholars discussed here. Rethinking the myth of Echo and Narcissus by performing a different kind of listening, they take us on a journey from VSCO girls to basic bitches to vampires.＜/p＞ ＜p＞With an ear for the sound of Tiqqun’s polemic and its ensemble of Anglophone and Francophone rejoinders, ＜em＞Young-Girls in Echoland＜/em＞ offers a model for analyzing the call-and-response of pop philosophy and for hearing the affective rhythms of communicative capitalism.＜/p＞ ＜p＞＜em＞Forerunners: Ideas First＜/em＞ is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞One of the most prolific and influential landscape architects of the twentieth century, Lawrence Halprin (1916?2009) was best known for the FDR Memorial in Washington, D.C., and Sea Ranch, the iconic planned community in California. These projects, as well as vibrant public spaces throughout the countryーfrom Ghirardelli Square and Market Street in San Francisco to Lovejoy Fountain Park in Portland and Nicollet Mall in Minneapolisーgrew out of a participatory design process that was central to Halprin’s work and is proving ever more relevant to urban design today.＜/p＞ ＜p＞In ＜em＞City Choreographer＜/em＞, urban designer and historian Alison Bick Hirsch explains and interprets this creative process, called the RSVP Cycles, referring to the four components: resources, score, valuation, and performance. With access to a vast archive of drawings and documents, Hirsch provides the first close-up look at how Halprin changed our ideas about urban landscapes. As an urban pioneer, he found his frontier in the nation’s densely settled metropolitan areas during the 1960s. Blurring the line between observer and participant, he sought a way to bring openness to the rigidly controlled worlds of architectural modernism and urban renewal. With his wife, Anna, a renowned avant-garde dancer and choreographer, Halprin organized workshops involving artists, dancers, and interested citizens that produced “scores,” which then informed his designs.＜/p＞ ＜p＞＜em＞City Choreographer＜/em＞ situates Halprin within the larger social, artistic, and environmental ferment of the 1960s and 1970s. In doing so, it demonstrates his profound impact on the shape of landscape architecture and his work’s widening reach into urban and regional development and contemporary concerns of sustainability.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞One of the most prolific and influential landscape architects of the twentieth century, Lawrence Halprin (1916?2009) was best known for the FDR Memorial in Washington, D.C., and Sea Ranch, the iconic planned community in California. These projects, as well as vibrant public spaces throughout the countryーfrom Ghirardelli Square and Market Street in San Francisco to Lovejoy Fountain Park in Portland and Nicollet Mall in Minneapolisーgrew out of a participatory design process that was central to Halprin’s work and is proving ever more relevant to urban design today.＜/p＞ ＜p＞In ＜em＞City Choreographer＜/em＞, urban designer and historian Alison Bick Hirsch explains and interprets this creative process, called the RSVP Cycles, referring to the four components: resources, score, valuation, and performance. With access to a vast archive of drawings and documents, Hirsch provides the first close-up look at how Halprin changed our ideas about urban landscapes. As an urban pioneer, he found his frontier in the nation’s densely settled metropolitan areas during the 1960s. Blurring the line between observer and participant, he sought a way to bring openness to the rigidly controlled worlds of architectural modernism and urban renewal. With his wife, Anna, a renowned avant-garde dancer and choreographer, Halprin organized workshops involving artists, dancers, and interested citizens that produced “scores,” which then informed his designs.＜/p＞ ＜p＞＜em＞City Choreographer＜/em＞ situates Halprin within the larger social, artistic, and environmental ferment of the 1960s and 1970s. In doing so, it demonstrates his profound impact on the shape of landscape architecture and his work’s widening reach into urban and regional development and contemporary concerns of sustainability.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。