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Visions of Race, Death, and the Maternal
New York City-January 1998
"That government is best which governs not at all; and when men are prepared for it, that will be the kind of government which they will have." This quote from Henry David Thoreau's Essay on Civil Disobedience is one of thirty quotations from which John Cage created Anarchy, a book-length lecture comprising twenty mesostic poems. Composed with the aid of a computer program to simulate the coin toss of the I Ching, Anarchy draws on the writings of many serious anarchists including Emma Goldman, Peter Kropotkin, and Mario Malatesta, not so much making arguments for anarchism as "brushing information against information," giving the very words new combinations that de-familiarize and re-energize them. Now widely available of the first time, Anarchy marks the culmination of Cage's work as a poet, composer and as a thinker about contemporary society.
From Primordial Sea to Public Space
Extensively illustrated with detailed site plans and photographs, this architectural history of the Mexican plaza reveals why this central public space has been the heart of the community from ancient Mesoamerican times until the present.
A Twenty-One-Year-Old in Mississippi in 1964
Franchising Toys and Characters in Japan
In Anime’s Media Mix, Marc Steinberg convincingly shows that anime is far more than a style of Japanese animation. Beyond its immediate form of cartooning, anime is also a unique mode of cultural production and consumption that led to the phenomenon that is today called “media mix” in Japan and “convergence” in the West.
According to Steinberg, both anime and the media mix were ignited on January 1, 1963, when Astro Boy hit Japanese TV screens for the first time. Sponsored by a chocolate manufacturer with savvy marketing skills, Astro Boy quickly became a cultural icon in Japan. He was the poster boy (or, in his case, “sticker boy”) both for Meiji Seika’s chocolates and for what could happen when a goggle-eyed cartoon child fell into the eager clutches of creative marketers. It was only a short step, Steinberg makes clear, from Astro Boy to Pokémon and beyond.
Steinberg traces the cultural genealogy that spawned Astro Boy to the transformations of Japanese media culture that followed—and forward to the even more profound developments in global capitalism supported by the circulation of characters like Doraemon, Hello Kitty, and Suzumiya Haruhi. He details how convergence was sparked by anime, with its astoundingly broad merchandising of images and its franchising across media and commodities. He also explains, for the first time, how the rise of anime cannot be understood properly—historically, economically, and culturally—without grasping the integral role that the media mix played from the start. Engaging with film, animation, and media studies, as well as analyses of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day.
The Art Markets in Italy, 1400-1700
The chapters of this book revolve around the notion of the other in Jacques Derrida's work. How does Derrida write of and on the other? Arguing that Derrida offers the most attentive and responsible thinking about the undeniable experience of the alterity of the other,Apparitions--of Derrida's Other examines exemplary instances of the relation to the other--the relation of Moses to God, Derrida's friendship with Jean-Luc Nancy, Derrida's relation to a recently departed actress caught on video, among others--to demonstrate how Derrida forces us to reconceive who or what the other may be. For Derrida, the singularity of the other, always written in the lower case, includes not only the formal or logical sense of alterity, the otherness of the human other, but also the otherness of the nonliving, the no longer living, or the not yet alive. The book explores welcoming and hospitality, salutation and greeting, approaching,and mourning as constitutive facets of the relation to these others. Addressing Derrida's readings of Husserl, Levinas, Barthes, Blanchot, and Nancy, among other thinkers, and ranging across a number of disciplines, including art, literature, philosophy, and religion, this book explores the apparitions of the other by attending to the mode of appearing or coming on the scene, the phenomenality and visibility of the other. Analyzing some of Derrida's essays on the visual arts, the book also demonstrates that video and photography display an intimate relation to spectrality,as well as a structural relation to the absolute singularity of the other.
Architects of Little Rock provides biographical and historical sketches of the architects working in Little Rock from 1830 to 1950. Thirty-five architects are profiled, including George R. Mann, Thomas Harding, Charles L. Thompson, Max. F. Mayer, Edwin B. Cromwell, George H. Wittenberg, Lawson L. Delony, and others. Readers will learn who these influential professionals were, where they came from, where they were educated, how they lived, what their families were like, how they participated in the life of the city, and what their buildings contributed to the city. Famous buildings, including the Historic Arkansas Museum, the Old State House, the Arkansas State Capitol, St. Andrews Cathedral, Little Rock City Hall, the Pulaski County Court House, Little Rock Central High School, and Robinson Auditorium are showcased, bringing attention to and encouraging appreciation of the city’s historic buildings.
This manifesto is a verbal articulation of the authors' visionary theory of how the human body, architecture, and creativity define and sustain one another.
This revolutionary work by artist-architects Arakawa and Madeline Gins demonstrates the inter-connectedness of innovative architectural design, the poetic process, and philosophical inquiry. Together, they have created an experimental and widely admired body of work--museum installations, landscape and park commissions, home and office designs, avant-garde films, poetry collections--that challenges traditional notions about the built environment. This book promotes a deliberate use of architecture and design in dealing with the blight of the human condition; it recommends that people seek architectural and aesthetic solutions to the dilemma of mortality.
In 1997 the Guggenheim Museum presented an Arakawa/Gins retrospective and published a comprehensive volume of their work titled Reversible Destiny: We Have Decided Not to Die. Architectural Body continues the philosophical definition of that project and demands a fundamental rethinking of the terms "human" and "being." When organisms assume full responsibility for inventing themselves, where they live and how they live will merge. The artists believe that a thorough re-visioning of architecture will redefine life and its limitations and render death passe. The authors explain that "Another way to read reversible destiny . . . Is as an open challenge to our species to reinvent itself and to desist from foreclosing on any possibility."
Audacious and liberating, this volume will be of interest to students and scholars of 20th-century poetry, postmodern critical theory, conceptual art and architecture, contemporary avant-garde poetics, and to serious readers interested in architecture's influence on imaginative expression.