Gary Hall Workshttps://hdl.handle.net/10468/55702024-03-29T14:12:52Z2024-03-29T14:12:52Z371Architecture in the Anthropocene: Encounters among design, deep time, science and philosophyhttps://hdl.handle.net/10468/56442023-04-04T12:29:38Z2013-01-01T00:00:00Zdc.title: Architecture in the Anthropocene: Encounters among design, deep time, science and philosophy
dc.contributor.editor: Turpin, Etienne
dc.description.abstract: Research regarding the significance and consequence of anthropogenic transformations of the earth’s land, oceans, biosphere and climate have demonstrated that, from a wide variety of perspectives, it is very likely that humans have initiated a new geological epoch, their own. First labeled the Anthropocene by the chemist Paul Crutzen, the consideration of the merits of the Anthropocene thesis by the International Commission on Stratigraphy and the International Union of Geological Sciences has also garnered the attention of philosophers, historians, and legal scholars, as well as an increasing number of researchers from a range of scientific backgrounds. Architecture in the Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy intensifies the potential of this multidisciplinary discourse by bringing together essays, conversations, and design proposals that respond to the “geological imperative” for contemporary architecture scholarship and practice. Contributors include Nabil Ahmed, Meghan Archer, Adam Bobbette, Emily Cheng, Heather Davis, Sara Dean, Seth Denizen, Mark Dorrian, Elizabeth Grosz, Lisa Hirmer, Jane Hutton, Eleanor Kaufman, Amy Catania Kulper, Clinton Langevin, Michael C.C. Lin, Amy Norris, John Palmesino, Chester Rennie, François Roche, Ann-Sofi Rönnskog, Isabelle Stengers, Paulo Tavares, Etienne Turpin, Eyal Weizman, Jane Wolff, Guy Zimmerman.
2013-01-01T00:00:00ZArt in the Anthropocene: Encounters among aesthetics, politics, environments and epistemologieshttps://hdl.handle.net/10468/56542023-04-04T12:29:30Z2015-01-01T00:00:00Zdc.title: Art in the Anthropocene: Encounters among aesthetics, politics, environments and epistemologies
dc.contributor.editor: Davis, Heather; Turpin, Etienne
dc.description.abstract: Taking as its premise that the proposed geologic epoch of the Anthropocene is necessarily an aesthetic event, this book explores the relationship between contemporary art and knowledge production in an era of ecological crisis, with contributions from artists, curators, theorists and activists. Contributors include Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow.
2015-01-01T00:00:00ZBeing up for grabs: On speculative anarcheologyBensusan, Hilanhttps://hdl.handle.net/10468/56692023-04-04T12:29:37Z2017-01-01T00:00:00Zdc.title: Being up for grabs: On speculative anarcheology
dc.contributor.author: Bensusan, Hilan
dc.description.abstract: This is a book on the metaphysics of contingency. It looks at what could be otherwise, at what lacks the weight of necessity, at what is up for grabs. Aristotle maintained that there could be no knowledge of the impermanent. Since then, metaphysics has endeavored to find out what really is permanent, non-accidental and resilient – substances that endure, substrata underneath different qualities, fixed principles, necessary connections. In contrast, Bensusan draws on the growing philosophical attention to the contingent. It explores how we can counter Aristotle and develop a metaphysics of what ain’t necessarily so. The endeavor renegotiates the accepted familiarity between ontology and the search for an arché. Being Up For Grabs explores this in connection to what is up in the air, what is out of the blue and what is up for grabs. It is a metaphysical exercise that dialogues with several philosophical resources. It is also a speculative and anarcheological effort, as it tries to reach a broad and encompassing view of the sensible world while conceiving it as lacking any arché. The book emerges as an exercise in speculative anarcheology.
2017-01-01T00:00:00ZCapital at the brink: Overcoming the destructive legacies of neoliberalismhttps://hdl.handle.net/10468/56512023-04-04T12:29:40Z2014-01-01T00:00:00Zdc.title: Capital at the brink: Overcoming the destructive legacies of neoliberalism
dc.contributor.editor: Di Leo, Jeffrey R.; Mehan, Uppinder
dc.description.abstract: Capital at the Brink reveals the pervasiveness, destructiveness, and dominance of neoliberalism within American society and culture. The contributors to this collection also offer points of resistance to an ideology wherein, to borrow Henry Giroux’s comment, “everything either is for sale or is plundered for profit.” The first step in fighting neoliberalism is to make it visible. By discussing various inroads that it has made into political, popular, and literary culture, Capital at the Brink is taking this first step and joining a global resistance that works against neoliberalism by revealing the variety of ways in which it dominates and destroys various dimensions of our social and cultural life.With essays by Paul A. Passavant, Noah De Lissovoy, Robert P. Marzec, Jennifer Wingard, Zahi Zalloua, Jodi Dean, Andrew Baerg, Jeffrey R. Di Leo, Christopher Breu and Uppinder Mehan.
2014-01-01T00:00:00ZDeath of the posthuman: Essays on extinction, vol. 1Colebrook, Clairehttps://hdl.handle.net/10468/56472023-04-04T12:29:16Z2014-01-01T00:00:00Zdc.title: Death of the posthuman: Essays on extinction, vol. 1
dc.contributor.author: Colebrook, Claire
dc.description.abstract: Death of the PostHuman undertakes a series of critical encounters with the legacy of what had come to be known as 'theory,' and its contemporary supposedly post-human aftermath. There can be no redemptive post-human future in which the myopia and anthropocentrism of the species finds an exit and manages to emerge with ecology and life. At the same time, what has come to be known as the human - despite its normative intensity - can provide neither foundation nor critical lever in the Anthropocene epoch. Death of the PostHuman argues for a twenty-first century deconstruction of ecological and seemingly post-human futures.
2014-01-01T00:00:00ZDigital humanities and digital media: Conversations on politics, culture, aesthetics and literacyhttps://hdl.handle.net/10468/56612023-04-04T12:29:42Z2016-01-01T00:00:00Zdc.title: Digital humanities and digital media: Conversations on politics, culture, aesthetics and literacy
dc.contributor.editor: Simanowski, Roberto
dc.description.abstract: There is no doubt that we live in exciting times: Ours is the age of many ‘silent revolutions’ triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago.The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees’ particular concerns.Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the “passive” to “active” and from “social” to “transparent reading”; the section on media literacy discusses the loss of deep reading, the prospect of “distant reading” and “algorithmic criticism” as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.
2016-01-01T00:00:00ZDigital lighthttps://hdl.handle.net/10468/56532023-04-04T12:29:41Z2015-01-01T00:00:00Zdc.title: Digital light
dc.contributor.editor: Cubitt, Sean; Palmer, Daniel; Tkacz, Nathaniel
dc.description.abstract: Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu.
2015-01-01T00:00:00ZDream machinesConnor, Stevenhttps://hdl.handle.net/10468/56702023-04-04T12:29:35Z2017-01-01T00:00:00Zdc.title: Dream machines
dc.contributor.author: Connor, Steven
dc.description.abstract: Dream Machines is a history of imaginary machines and the ways in which machines come to be imagined. It considers seven different kinds of speculative, projected or impossible machine: machines for teleportation, dream-production, sexual pleasure and medical treatment and cure, along with ‘influencing machines’, invisibility machines and perpetual motion machines. The process of imagining ideal or impossible forms of machinery tends backwards or inwards, allowing a way for imagination itelf to be conceived as a kind of machinery, or ingenious engineering. Machines suggest to us ways of imagining the machinery we take ourselves to be, the workings not only of immune systems and neural networks, but also of dreams, desires and aspirations. This reflexivity means that representations of machines are always suffused with intense feeling. The larger aim of Dream Machines is to isolate a strain of the visionary that may be involved in all thinking and writing about machines. An imaginary machine may also be a way of imagining other kinds of thing that a machine can do and be. This is the sense in which all machines may in fact be said to be forms of media; for we have always dreamed of and with machines, always therefore dreaming through the machines we have been dreaming about.
2017-01-01T00:00:00ZImmersion into noiseNechvatal, Josephhttps://hdl.handle.net/10468/56372023-04-04T12:29:10Z2011-01-01T00:00:00Zdc.title: Immersion into noise
dc.contributor.author: Nechvatal, Joseph
dc.description.abstract: Joseph Nechvatal's Immersion Into Noise investigates multiple aspects of cultural noise by applying our audio understanding of noise to the visual, architectual and cognative domains. The author takes the reader through phenomenal aspects of the art of noise into algorithmic and network contexts, beginning in the Abside of the Grotte de Lascaux.
2011-01-01T00:00:00ZImpasses of the post-global: theory in the era of climate change, vol. 2https://hdl.handle.net/10468/56412023-04-04T12:29:34Z2012-01-01T00:00:00Zdc.title: Impasses of the post-global: theory in the era of climate change, vol. 2
dc.contributor.editor: Sussman, Henry
dc.description.abstract: The diverse materials comprising Impasses of the Post-Global take as their starting point an interrelated, if seemingly endless sequence of current ecological, demographic, socio-political, economic, and informational disasters. These include the contemporary discourses of deconstruction, climate change, ecological imbalance and despoilment, sustainability, security, economic bailout, auto-immunity, and globalization itself. With essays by James H. Bunn, Rey Chow, Bruce Clarke, Tom Cohen, Randy Martin, Yates McKee, Alberto Moreiras, Haun Saussy, Tian Song, Henry Sussman, Samuel Weber, Ewa P. Ziarek, and Kryzsztof Ziarek.
2012-01-01T00:00:00Z