The Contemporary Condition Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of The Contemporary Condition book. This book definitely worth reading, it is an incredibly well-written.
What do we mean when we say that something is contemporary? And what should the designator contemporary art refer to? What constitutes the present present or the contemporary contemporary? Introductory Thoughts on Contemporaneity and Contemporary Art, the first book in the Contemporary Condition series, introduces key issues concerning contemporaneity as a defining condition of our historical present and calls for a deep rethinking of the structures of temporalization.
William Connolly, one of the best-known and most important political theorists writing today, is a principal architect of the “new pluralism.” In this volume, leading thinkers in contemporary political theory and international relations provide a comprehensive investigation of the new pluralism, Connolly’s contributions to it, and its influence on the fields of political theory and international relations. Together they trace the evolution of Connolly’s ideas, illuminating his challenges to the “old,” conventional pluralist theory that dominated American and British political science and sociology in the second half of the twentieth century. The contributors show how Connolly has continually revised his ideas about pluralism to take into account radical changes in global politics, incorporate new theories of cognition, and reflect on the centrality of religion in political conflict. They engage his arguments for an agonistic democracy in which all fundamentalisms become the objects of politicization, so that differences are not just tolerated but are productive of debate and the creative source of a politics of becoming. They also explore the implications of his work, often challenging his views to widen the reach of even his most recently developed theories. Connolly’s new pluralism will provoke all citizens who refuse to subordinate their thinking to the regimes in which they reside, to religious authorities tied to the state, or to corporate interests tied to either. The New Pluralism concludes with an interview with Connolly in which he reflects on the evolution of his ideas and expands on his current work. Contributors: Roland Bleiker, Wendy Brown, David Campbell, William Connolly, James Der Derian, Thomas L. Dumm, Kathy E. Ferguson, Bonnie Honig, George Kateb, Morton Schoolman Michael J. Shapiro, Stephen K. White
Can we speak of composition when we are in a state of decomposition? Art being made today as the world spins into chaos and disorder defies coherent categorization. Revising his well-known histories of contemporary art, Terry Smith argues that visual artists must respond to the compelling need for order and composition during this time of divisive difference. This second volume in the Contemporary Condition series traces how visual artists across the globe are rising to this challenge.
The prominent political theorist William E. Connolly outlines a political philosophy for the contemporary world: a world whose powers of creative evolution include and exceed the human estate.
This book contains three interconnected palimpsest essays on the backstory of a meta font updated by Dexter Sinister and used in this book series, a broad history of the rationalization of letterforms that considers the same typeface from a higher point of disinterest, and a proposal for a sundial designed to operate in parallel physi- cal and digital realms. All of the essays contemplate the ambiguous nature of our shared idea of time itself.
The contemporary moment is comprised of many overlapping speeds, rhythms, and periods of time. A central theme of Jussi Parikka's book concerns slowness instead of acceleration: a different sort of a temporal horizon in order to understand some of the environmental temporalities that media and technological arts are involved in. This is approached through art and design practices that unfold this multiplicity of time, closely entwined with contemporary concerns in aesthetic theory, to understand and engage with the planetary time scales of slow environmental violence. The third volume of the Contemporary Condition series continues the investigation into contemporaneity as a defining condition of our historical present. The series aims to question the formation of subjectivity and concept of temporality in the world now. It begins from the assumption that art, with its ability to investigate the present and make meaning from it, can lead to an understanding of wider developments within culture and society. Addressing a perceived gap in existing literature on the subject, the series focuses on three broad strands: the issue of temporality, the role of contemporary media and computational technologies, and how artistic practice makes epistemic claims. The Contemporary Condition series edited by Geoff Cox and Jacob Lund, Volume 03 Copublished with Aarhus University and ARoS Art Museum
In the media theatre of contemporary culture, a drama unfolds: While the human sense of "the present" is challenged by the immediacy of analog signal transmission and the delays of digital data processing, a different (non-)sense of time unfolds within technologies themselves. At that moment, human-related phenomenological analysis clashes with the media-archaeological close reading of the technological event, in an impossible effort to let the temporeal articulate itself. The Contemporary Condition series edited by Geoff Cox and Jacob Lund, Volume 04 Copublished with Aarhus University and ARoS Art Museum
Author : Leslie C. Green Publisher : Manchester University Press Page : 408 pages File Size : 12,16 MB Release : 1993 Category : Law ISBN : 9780719035401
In this book, Osborne demonstrates why and how photography as photography has survived and flourished since the rise of digital processes, when many anticipated its dissolution into a generalised system of audio-visual representations or its collapse under the relentless overload of digital imagery. He examines how photography embodies, contributes to, and even in effect critiques how the contemporary social world is now imagined, how it is made present and how the concept and the experience of the Present itself is produced. Osborne bases his discussions primarily in cultural studies and visual cultural studies. Through an analysis of different kinds of photographic work in distinct contexts, he demonstrates how aspects of photography that once appeared to make it vulnerable to redundancy turn out to be the basis of its survival and have been utilised by much important photographic work of the last three decades.
The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond The collision of activism and contemporary art, from the Seattle protests to Occupy and beyond What is the relation of art to the practice of radical politics today? Strike Art explores this question through the historical lens of Occupy, an event that had artists at its core. Precarious, indebted, and radicalized, artists redirected their creativity from servicing the artworld into an expanded field of organizing in order to construct of a new—if internally fraught—political imaginary set off against the common enemy of the 1%. In the process, they called the bluff of a contemporary art system torn between ideals of radical critique, on the one hand, and an increasing proximity to Wall Street on the other—oftentimes directly targeting major art institutions themselves as sites of action. Tracking the work of groups including MTL, Not an Alternative, the Illuminator, the Rolling Jubilee, and G.U.L.F, Strike Art shows how Occupy ushered in a new era of artistically-oriented direct action that continues to ramify far beyond the initial act of occupation itself into ongoing struggles surrounding labor, debt, and climate justice, concluding with a consideration of the overlaps between such work and the aesthetic practices of the Black Lives Matter movement. Art after Occupy, McKee suggests, contains great potentials of imagination and action for a renewed left project that are still only beginning to ripen, at once shaking up and taking flight from the art system as we know it.