In this original and trenchant work, Christina Sharpe i…
Introduction
A multigrade textbook of Spanish through Caribbean music: cumbia, reggaeton, salsa.
Interface Realisms: The Interface as Aesthetic Form
Until now, digital arts have largely been understood to belong in traditional genres or forms of art: we are said to have electronic literature, net.art, or electronic, techno music. Sometimes interesting discussions have arisen concerning the very ontology of digital art, and questions such as whether net.art should be seen within the tradition of the visual arts or as a form of literature connecting it to the different traditions and questions regulating these arts.[1] While it is not my intent to disconnect digital art from traditional art, or to argue for the irrelevance of the traditional forms of art, I will in the following establish the interface as an aesthetic and critical framework for digital art.
Why Robert Frank’s “The Americans” Matters Today
The photographer’s seminal monograph had a seismic impact on photography conventions and American culture.
Culture & truth : the remaking of social analysis
xii, 253 pages ; 22 cm; Argues for a new approach to thinking and writing about culture. Exposing old conceptions, the book argues that new ethnographic writing must come to terms with the dynamic nature of social reality - with history, spontaneity, and human emotions; Originally published: Boston: Beacon, 1989; Includes index; Self-Renewing 2017; Includes index
Southland Institute
Through engaging questions of how approaches of progressive, critical, queer, and antiracist pedagogical traditions might be applied to interdisciplinary programming in typography, graphic design, and critical art-making, we are working to assemble a growing toolkit of pedagogies -- all of which are intended to be used, shared, recombined, interpreted, and questioned -- as part of the perpetual project of exploring approaches to sharing and transmitting knowledge.
Cartographic Memory: Social Movement Activism and the Production of Space
“Cartographic Memory is a creative, important, and well-written book that offers a vital analysis of Latinx activism in Oakland. Juan Herrera’s concept of social movement continuities helps us analyze the range of ways that actors make social change, rather than only focusing on the most radical politics or certain epic moments. Herrera’s book is an outstanding contribution toward building a nuanced and complex understanding of Latinx social movements.” - Victoria Lawson, author of Making Development Geography
YOU NAME IT
Check out YOU NAME IT - This comprehensive publication focuses on the artwork and activism of Sasha Huber. A Helsinki-based visual artist and researcher of Swiss and Haitian heritage, Huber’s creative practice encompasses performance, photography, film, mixed media, reparative interventions, and collaborations to investigate colonial residues left in the environment. Her projects conceive of natural spaces—mountains, lakes, glaciers, forests, and craters—as contested territories, highlighting the ways in which history is imprinted onto the landscape through acts of remembrance, including memorialization through naming and the erection of monuments. For over a decade, Huber has produced work in relation to the cultural and political Demounting Louis Agassiz campaign, which seeks to redress the racist legacy of the Swiss-born naturalist and glaciologist. With her artworks, Huber challenges the terms by which we remember, asking not only who and what we memorialize, but also, and more importantly, how we do so. by Huber, Sasha on Bookshop.org UK!
De Dualle | Contemporary Art Haus | Chicago
De Duallè is a contemporary art haus divided into multiple areas for housing different disciplines of art (retail, studio, event space) . De Duallè is an contemporary art platform focusing on promoting and bridging emerging artists from multiple cultures and disciplines around the world . We focus on emerging contemporary and traditional artists by providing support and resources to showcase their creativity, ideas and concepts to a larger demographic Come join us! dedualle.com
GIRIC - Growing Intercultural Roots in Communities - an OPEN CALL
Actions for Growth: developing your practice within communities for artists, makers and practitioners. An Open Call for Artists, Creative and Cultural Practitioners.
Pierre d'Alancaisez: The Crisis in Contemporary Art
Canicule : la révolution ou la mort
Frustration Magazine, média indépendant et offensif qui relate la guerre des classes.
Utopian media studies: Introduction
This introduction to the special issue ‘Utopian Media Studies’ sketches a framework for how media studies can become a site of utopian praxis, research and experimentation. It first addresses three apprehensions media scholars might have about the notion of utopian media studies and its appeal to a loaded concept like ‘utopia’. The introduction then outlines five sensibilities to explicate the nature and significance of this special issue’s contribution to the field: a utopian media studies must adopt an ecological approach to media; recognize and be invigorated by limits; work toward the technological liberation of time; connect imagination with practice; and emphasize and enable conditions for transmitting hope. Lastly, the introduction considers Ruth Levitas’s distinction between utopia’s archaeological, ontological, and architectural mode to map some of the concrete ways in which existing media studies research is doing utopian work that aligns with these sensibilities. In connecting work that operates in these modes with the various contributions to this special issue, the introduction reveals the utopian currents that already run through media studies as a discipline and opens up new conceptual and methodological approaches to studying and modeling digital utopias.
Utopian media studies: Introduction
This introduction to the special issue ‘Utopian Media Studies’ sketches a framework for how media studies can become a site of utopian praxis, research and experimentation. It first addresses three apprehensions media scholars might have about the notion of utopian media studies and its appeal to a loaded concept like ‘utopia’. The introduction then outlines five sensibilities to explicate the nature and significance of this special issue’s contribution to the field: a utopian media studies must adopt an ecological approach to media; recognize and be invigorated by limits; work toward the technological liberation of time; connect imagination with practice; and emphasize and enable conditions for transmitting hope. Lastly, the introduction considers Ruth Levitas’s distinction between utopia’s archaeological, ontological, and architectural mode to map some of the concrete ways in which existing media studies research is doing utopian work that aligns with these sensibilities. In connecting work that operates in these modes with the various contributions to this special issue, the introduction reveals the utopian currents that already run through media studies as a discipline and opens up new conceptual and methodological approaches to studying and modeling digital utopias.
