mit press august 2016 (2 résultats)

Trade Paperback. Etat : New. Animals have become the focus of much recent art, informing numerous works and projects featured at major exhibitions including dOCUMENTA (13) (2013), the 10th Shanghai Biennale (2014), and the 56th Venice Biennale (2015). Contemporary art has emerged as a privileged terrain for exploring interspecies relationships, providing the conditions for diverse disciplines and theoretical positions to engage with animal behavior and consciousness. This interest in animal nature reflects a number of current issues. Observations of empathy among nonhumans prompt reconsiderations of the human. The nonverbal communication of animals has been compared with poetic expansion of the boundaries of language. And the freedom of animal life in the wild from capitalist subordination is seen as a potential model for reconfiguring society and our relationship to the wider environment. Artists' engagement with animals also opens up new perspectives on the dynamics of dominance, oppression, and exclusion, with parallels in human society. Animal nature is at the heart of debates on the Anthropocene era and the ecological concerns of scientists, thinkers, and artists alike. Centered on contemporary artworks, this anthology attests to the trans-disciplinary nature of this subject, with art as one of the principal points of convergence. Artists surveyed include Allora & Calzadilla, Francis Alys, Julieta Aranda, Brandon Ballengee, Joseph Beuys, Marcel Broodthaers, Lygia Clark, Marcus Coates, Jimmie Durham, Marcel Dzama, Simone Forti, Pierre Huyghe, Natalie Jeremijenko, Joan Jonas, Eduardo Kac, Mike Kelley, Henri Michaux, Robert Morris, Henrik Olesen, Lea Porsager, Julia Reodica, Carolee Schneemann, Michael Stevenson, Rodel Tapaya, Rosemarie Trockel, Apichatpong Weerasethakul, Haegue Yang, Adam Zaretsky Writers include Giorgio Agamben, Steve Baker, Raymond Bellour, Walter Benjamin, John Berger, Jonathan Burt, Ted Chiang, Simon Critchley, Gilles Deleuze, Jacques Derrida, David Elliott, Carla Freccero, Maria Fusco, Tristan Garcia, Felix Guattari, Donna J. Haraway, Seung-Hoon Jeong, Miwon Kwon, Chus Martinez, Brian Massumi, Thomas Nagel, Jean-Luc Nancy, Ingo Niermann, Vincent Normand, Ana Teixeira Pinto, Will Self, Michael Taussig, Jan Verwoert, Eduardo Viveiros de Castro'.

Trade Paperback. Etat : Used - Like New. Every intellectual endeavor relies upon an existing body of knowledge, proven and primed for reuse. Historically, this appropriation has been regulated through quotation. Academics trade epigraphs and footnotes while designers refer to precedents and manifestos. These citations -- written or spoken, drawn or built -- rely on their antecedent, and carry the stamp of authority. In the field of architecture, appropriation is faster, easier, and more conspicuous than ever, but also less regulated. These displacements are no longer self-referential games. Instead, buildings are copied before construction is completed. Digital scripts are downloaded, altered, and re-uploaded -- transposing the algorithm, not the object itself. Design bloggers 'curate' texts and images -- copying and pasting, copying and pasting. In the sea of memes and GIFs, tweets and retweets, quotes are both innumerable and viral, giving voice to anyone with access to these channels. Traditionally, the practice of quotation has inoculated the author against accusations of plagiarism. Today, the quicksilver nature of contemporary communications obscures chains of reference. Must we jettison conventions of authorship or will we establish new codes of citation? This issue of 'Perspecta' -- the oldest and most distinguished student-edited architectural journal in America -- explores the uneasy lines between quotation, appropriation, and plagiarism, proposing a constructive reevaluation of contemporary means of architectural production and reproduction. Although architecture is a discipline that prizes originality and easily ascribed authorship, it is important to recognize that quotation and associated operations are ubiquitous, intentional, and vital, not just palliatives to the anxiety of influence. These are perhaps the most potent tools of cultural production, yet also the most contested. 'Perspecta 49 'welcomes the contest. Very nice clean, tight copy free of any marks.