Sensoria

Sensoria
Автор книги: id книги: 1597649     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 1898,74 руб.     (20,71$) Читать книгу Купить и скачать книгу Купить бумажную книгу Электронная книга Жанр: Афоризмы и цитаты Правообладатель и/или издательство: Ingram Дата добавления в каталог КнигаЛит: ISBN: 9781788735087 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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As we face the compounded crises of late capitalism, environmental catastrophe and technological transformation, who are the thinkers and the ideas who will allow us to understand the world we live in? McKenzie Wark surveys three areas at the cutting edge of current critical thinking: design, environment, technology and introduces us to the thinking of nineteen major writers. Each chapter is a concise account of an individual thinker, providing useful context and connections to the work of the others. The authors include: Sianne Ngai, Kodwo Eshun, Lisa Nakamura, Hito Steyerl, Yves Citton, Randy Martin, Jackie Wang, Anna Lowenhaupt Tsing, Achille Mbembe, Deborah Danowich and Eduardo Viveiros de Castro, Eyal Weizman, Cory Doctorow, Benjamin Bratton, Tiziana Terranova, Keller Easterling, Jussi Parikka. Wark argues that we are too often told that expertise is obtained by specialisation. Sensoria connects the themes and arguments across intellectual silos. They explore the edges of disciplines to show how we might know the world: through the study of culture, the different notions of how we create such things, and the impact that the machines that we devise have had upon us. The book is a vital and timely introduction to the future both as a warning but also as a road map on how we might find our way out of the current crisis.

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Маккензи Уорк. Sensoria

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Thinkers for theTwenty-First Century

McKenzie Wark

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The third tendency Nakamura layers onto the so-called neoliberal turn and the commercialized and more-popular internet is the academic tendency known as visual studies or visual culture studies.116 This in part grew out of, and in reaction against, an art historical tradition that could absorb installation art but did not know how to think digital media objects or practices. Visual culture studies drew on anthropology and other disciplines to create the “hybrid form to end all hybrid forms.”117 It also had something in common with cultural studies, in its attention to low, ephemeral, and vulgar forms, treated not just as social phenomena but as aesthetic ones as well.

Not all the tendencies within visual culture studies sat well together. There could be tension between paying attention to digital media objects and paying attention to vulgar popular forms. Trying to do both at once was an exercise in self-created academic marginality. The study of new media thus tended to privilege things that look like art; the study of the low, the minor, or the vulgar tended to favor social over aesthetic methods and preoccupations. Not the least virtue of Nakamura’s work is that she went out on a limb and studied questions of race and gender and in new and ephemeral digital forms and as aesthetic practices.

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