Contents:
Hi There, Did you know that you can save books into your library to create gift lists, reading lists, etc? You can also mark books that you're reading, or want to read. This is the email address that you previously registered with on angusrobertson. We will send you an email with instructions on how to reset your password. We also noticed that you have previously shopped at Bookworld. Would you like us to keep your Bookworld order history? We also noticed that you have an account on Bookworld. Would you like us to keep your Bookworld details, including delivery addresses, order history and citizenship information?
Home Gardening International Subscriptions. Health Fitness International Subscriptions. Die Nacht Begann Am Morgen. Be the first to write a review. Arrives in days after despatch for most Australian capitals. On order from our USA supplier to our Sydney distribution centre Once received into our distribution centre, we will despatch and inform you via email.
Was seid ihr fur Manner? Presentation by Kosta Tonev , and discussion with the artist Kosta Tonev The Judgment , dual-channel video, 4 min 44 sec. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it. The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event.
In the second, a group of actors impersonate the characters of her story. This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. They will then be transported to Corner College for a public mise a nu par un objet. Corner College le public mis a nu par un objet This event is part of the exhibition project Theorem 4. Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later.
Vadim Levin, Spirits Call. Aya Momose Exchange Diary In collaboration with Im Heung-soon. Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images.
Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. Invitiation card for the exhibition.
Thursday, 2 March , Saturdays, 4 and 11 March , They will then be transported to Corner College for a public mis a nu par un objet. Corner College le public mis a nu par un objet Sunday, 19 March , The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K.
At the same time, it is haunted by a radical instability. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.
Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error.
Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject. There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it.
In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false the fancy, or funky. The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics.
Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth. We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters. Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders.
There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording. During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices.
The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision.
But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse.
One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest. This makes its psychological function all the more important: Improper Thinking by Daniel Kurjakovic in: The Great Western Possible , ed.
Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. A pedagogical theatre of unlearning and the limits of knowledge. Directed by Jakob Jakobsen. The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general.
It is doubtful whether this course ever took place. During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy.
This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing.
The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting.
The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away.
Endings are often unresolved. This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes.
Why is it looked at a sign of weakness? How can we change this notion?
Das Studio mag ein Raum mit einer gewissen Autonomie sein. This talk is concerned with histories of South African colonial formations featuring gardens and plants. No No, I don't need my Bookworld details anymore. Die beiden Arten der Produktion entsprechen der folgenden Aussage: The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Standing on the bare ground, all mean egotism vanishes.
Can we look at it without judgment? Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet. Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning. The sign language is false after all, the definition and the context which the gesture and the voice sound sends becomes separated eventually.
In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others. The work implies the oppressed subjects and bodies in the history beyond any boundaries.
An orientation device Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February The panel discussion will be held in German and in English.
Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden? Psychoanalytischen Praktiken folgend, schliesst das Projekt Part I: Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden?
Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen? Followed by a plenary discussion with the audience. And soup and bar. The studio might be a space with a certain degree of autonomy. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures. At the same time it is in the grammar of autonomy, aesthetics and politics.
There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today? How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too?
At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life. What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production.
It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment. How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches.
Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Artists often and openly strive to gain cheap and large places in the city for working.
The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings. How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing? How can they re-claim and negotiate in these social changes? Following psychoanalytic practices, the project Part I: What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art?
How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production working conditions and labor economic conditions? Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4. Wohin nehme ich mein Atelier mit? Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert. Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist?
Worin besteht ihr Wert? Dialogues or having a counterpart is very important in my working process. Since I am working at home, I am kind of isolated. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business. Somehow this subverting procedure became a slogan of the trio. Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years.
But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society. In the trio — who works exclusively in the collective — joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren. The association, founded in by a group of sculptors, among which artist Heinz Niederer, settled there in AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich.
This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. The exhibition inspired an entire generation of relational aesthetics, both curators and artists, from Nicolas Bourriaud to Jens Hoffmann, from Philippe Parreno to Pierre Huyghe, as well as the post-digital discourse and new media art context, with theoreticians and curators like Andreas Boeckmann and Yuk Hui.
You can download the text from here. If you are interested in joining our reading session, it is recommended that you to read it before. The essay makes interesting reading today, in light of the current interest in exhibitions: Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years.
This book is an attempt to translate new understandings of transcultural connections into a dialogue. Contributions and insights by important actors in the cultural field such as Eugene Tan, Rem Koolhaas, Benson Puah, June Yap, Gwee Li Sui, and Philip Ursprung, Michael Schindhelm and Damian Christinger frame research by students from the Zurich University of the Arts, and create a multi-voiced and multi-faceted approach to understanding the rapidly-changing cultural topographies of Singapore.
Happy Tropics I consists of two parts that run literally parallel throughout the book. As Singapore becomes a global leader in both the financial and knowledge-production sectors, increasing emphasis is being put on both the production and dissemination of culture in the island-state. The question as to whether arts and culture will follow suit is being closely followed by other nations worldwide who aspire to similar developmental goals.
Singapore can be thought of as a kind of laboratory for the enabling, production, education, and consumption of arts and culture. Understanding culture as a mirror of society, instrument of national identification, and site for dialogue and exchange with other cultures allows us to view it as a litmus test for the resilience of an unprecedented societal concept. Within this framework, Happy Tropics I can be seen as a case study and a laboratory for different approaches to dealing with the challenges of globalization, as the cultural topographies of Singapore are not only changing, but also constituting themselves in our timeframe.
Understanding the city as a responsive network that can be harnessed for research and education projects reflects this reality, and encouraged us to come with our students from the Zurich University of the Arts to Singapore, delving into its mesh and trying to learn that seeing eye to eye is so much more important then perceived hierarchies, a concept that is also reflected in the design and structure of this book.
Ferdinando Iannone This event is part of the exhibition project Theorem 4. If you are interested in our reading session please contact us! We will write you back with a copy of the book, and warmly recommend you to read it before the session. Miwa Negoro Corner College , miwa. Saturday, 21 January — Sunday, 19 February Opening: Saturday, 21 January at Sunday, 19 February at The studio might be a space where a certain degree of autonomy can be detected. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques.
There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.
It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc. Work is here used not necessarily to designate an art object.
The working environment of the studio can be seen from many angles. At the same time, it remains a place where un productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity. The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.
Die Nacht Begann Am Morgen Aufstieg und Fall eines westlichen Geheimagenten by Werner Juretzko Paperback / softback | Pub: 12/08/ (0) Weeks. es begann in der wachau german edition Ebook and lots of other ebooks can be Die Nacht in der alles begann BACCARA German Edition and like Der am Morgen Aufstieg und Fall eines westlichen Geheimagenten German Edition.
The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Aesthetic Agency and the Practices of Autonomy The operations of Moral and Politics, Aesthetics and Immanent Critique, invite a re-thinking in the sense of the moral fight Nietzsche , as Gilles Deleuze puts it in his essay about Foucault: All form is a combination of all forces, a mix of human and non-human in the process of individuation.
This precarious man-form is the extra-human ethical being of politics. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does. Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy.
Aesthetic autonomy goes beyond the art context to embrace life as a whole. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too. For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed. The interior, whether a home office or a study room, provides clues to the personality living or working there.
Series of 36 photographs. The L-Word - No mas metales HD video, 56 min. What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles. Mapping Graphic Design History in Switzerland is not just another book that retells the success story of Swiss graphic design.
It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland — from producing it, to archiving and exhibiting it. The book is also an endeavor to open up a space for graphic design history by providing new perspectives, ideas and tools that enable historical research in such a crucial field for Switzerland as graphic design and typography. On this occasion, the editors Davide Fornari and Robert Lzicar and publisher Triest invite you to celebrate the launch of the book. The evening will end with a toast on the publication.
Kerstin Forster publisher at Triest Verlag Robert Lzicar is a designer, educator and researcher. In resonance with Cora Piantoni's exhibition Buon Lavoro! Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.
Prose of The Day — Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen. Sie studierte Philosophie an der Sorbonne. Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed.
Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid. Born in Basel , lives and works in Zurich. Entropische Iteration Mohammad Namazi. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general.
Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms. A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment.
Book Release mit Filmdokumenten - Ted Serios. Brimacombe, Getty Pictures Archive. Aus Anlass des November zur Matinee um Bernd Stiegler Textem Verlag http: Ted Serios starb am Dezember in Chicago. Zum Psychiater und Parapsychologen Jule Eisenbud geb. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Jule Eisenbud starb am Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt. Cora Piantoni, Another Information: Terzo Radio GAP , November - Freitag, November , ab Viel Spass bei der Arbeit!
Saturday, 19 November, The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers.
The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage.
The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects. In the history of moving images and cinema, there are two main streams, one in the line of D. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives.
This latest work comes out of a residency in Genoa in , where the artist encountered a local story from the Italian antifascist resistance of the early s that became a motivation to further investigate and follow the characters involved. It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.
Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past? What are the means of historic reconstruction?
And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time? Nina Paim and Corinne Gisel This conversation is part of a series of events investigating current issues in design education in relation to giving, writing, and preserving assignments, initiated by the authors of the book Taking a Line for a Walk, published by Spector Books Leipzig in Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions.
Taking a Line for a Walk brings attention to something that is often neglected: This book is a compendium of assignments, edited by Nina Paim and coedited by Emilia Bergmark.
A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within.
Miwa Negoro Wednesday, Nicolasa Navarrete Illustrating Das Kapital. Volume one, 1 The end of truth The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable. It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money. Cora Piantoni Songs of Work 2 channel video installation, sound, Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events.
Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative. She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history. The table game offers a situation for curious and open people to contact with each other in a playful setting.
It allows to inform each other and share and connect information and knowledge. Curious to play with us? We are expecting you with pleasure and curiosity! We are there on Sunday, 30 October, for two sessions of the game, August im Corner College. Es war in Ordnung. Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Weil wir Freunde waren.
In den Lebensmitteln drin geht es zu und her wie in einer Stadt Gedichte, Texte und Zeichnungen. Zine-Vernissage am Sonntag, In den Lebensmitteln drin geht es zu und her wie in einer Stadt. Der Text ist noch nicht abgeschlossen. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds. These relationships are lateral and projects emerge through ongoing conversations.
The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online. I stumbled upon Playster 2 months ago. I've upgraded to a premium membership already. The platform now carries audiobooks from: HarperCollins US titles are already in the library. Just click on the download, read now or start a free trial buttons and create an account.
It only takes 5 minutes to start your one month trial, and after you can download not just this eBook but many others ;. Click the button below to register a free account and download the file. Recent Activity Loading activity Register a free 1 month Trial Account.