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''On Active Grounds'' considers the themes of agency and time through the burgeoning, interdisciplinary field of the environmental humanities. Fourteen essays and a photo album cover topics such as environmental practices and history, temporal literacy, graphic novels, ecocinema, ecomusicology, animal studies, Indigeneity, wolf reintroduction, environmental history, green(...)
avril 2019
On active grounds: agency and time in the environmental humanities
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''On Active Grounds'' considers the themes of agency and time through the burgeoning, interdisciplinary field of the environmental humanities. Fourteen essays and a photo album cover topics such as environmental practices and history, temporal literacy, graphic novels, ecocinema, ecomusicology, animal studies, Indigeneity, wolf reintroduction, environmental history, green conservatism, and social-ecological systems change. The book also speaks to the growing concern regarding environmental issues in the aftermath of the 2015 Paris Climate Conference (COP21) and the election of Donald Trump in the United States. This collection is organized as a written and visual appeal to issues such as time (how much is left?) and agency (who is active? what can be done? what does and does not work?). It describes problems and suggests solutions.
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«Pour Aldo Rossi l’architecture se déploie comme un rite: les signes architecturaux qui se répètent, les différents types qui sont repris d’un projet à l’autre, reproduisent la corporalité qui est à leur origine. Dans ce rituel, le monde des sensations et des impulsions obscures que la rationalité moderne avait rejeté refont surface de manière inattendue. À travers(...)
Aldo Rossi architecte du suspens
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«Pour Aldo Rossi l’architecture se déploie comme un rite: les signes architecturaux qui se répètent, les différents types qui sont repris d’un projet à l’autre, reproduisent la corporalité qui est à leur origine. Dans ce rituel, le monde des sensations et des impulsions obscures que la rationalité moderne avait rejeté refont surface de manière inattendue. À travers l’identification de l’architecture au corps animal ou humain, le désir qui était mis à l’écart de toute création est réintroduit dans l’architecture. Il s’agit d’un désir latent, inquiet de sa propre mort, un désir qui ne saurait s’exprimer autrement qu’à travers la répétition d’une typologie architecturale invariable. Parler de suspens en architecture revient ainsi, dans un premier temps, à évoquer un état de figement dont la finalité serait d’accéder à une temporalité anhistorique où la fixité domine. Toutefois, parler de suspens c’est aussi suggérer qu’il existe une attente et une latence au sein de cette fixité. C’est dire que le temps du suspens est corporel et inquiet.» Nous entraînant dans une enquête subtile qui traverse les écrits, projets et dessins réalisés entre 1959 et 1982 par l’architecte italien, l’ouvrage de Can Onaner permet de dévoiler sous un jour nouveau les notions et thèmes fondamentaux de l’œuvre d’Aldo Rossi: le type, la répétition, la permanence. Mais aussi de fonder le concept de suspens comme une nouvelle approche théorique de l’architecture, emblème de tout projet architectural inquiet de sa pérennité et mythe nécessaire, sinon fondateur, de toute urbanité.
Architecture, monographies
The piazza San Marco
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The piazza San Marco, one of the most famous and instantly recognizable townscapes in the West, if not the world, has been described as a stage set, as Europe’s drawing room, as a painter’s canvas. This book traces the changing shape and function of the piazza, from its beginnings in the ninth century to its present day ubiquity in the Venetian, European, as well as(...)
The piazza San Marco
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The piazza San Marco, one of the most famous and instantly recognizable townscapes in the West, if not the world, has been described as a stage set, as Europe’s drawing room, as a painter’s canvas. This book traces the changing shape and function of the piazza, from its beginnings in the ninth century to its present day ubiquity in the Venetian, European, as well as global imagination. Through its long history, the Piazza San Marco has functioned as civic space that was used for such varied activities as public meetings; animal-baiting; executions; state processions; meat and produce markets; a performance venue for rock concerts; as well as, more recently, a cafe to enjoy a leisurely Campari. Constantly alert to the question of function, this book recreates not only rituals of the past but also activities of the present.
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Human heads on animal bodies, people in fanciful landscapes, faces that are deftly morphed into common household objects—these are among the Victorian experiments in photocollage seen and explained in this marvelous book. With sharp wit and dramatic shifts of scale, these images flouted the serious conventions of photography in the 1860s and 1870s. Often made by women for(...)
Playing with pictures; the art of Victorian photocollage
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Human heads on animal bodies, people in fanciful landscapes, faces that are deftly morphed into common household objects—these are among the Victorian experiments in photocollage seen and explained in this marvelous book. With sharp wit and dramatic shifts of scale, these images flouted the serious conventions of photography in the 1860s and 1870s. Often made by women for albums, they reveal the educated minds and accomplished hands of their makers, taking on the new theory of evolution, addressing the changing role of photography, and challenging the strict conventions of aristocratic society. Although these photocollages may seem wonderfully odd to us now, the authors argue that they are actually perfectly in keeping with the Victorian sensibility that embraced juxtaposition and variety.
Illustration
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Lotte Reiniger (1899–1981) is a much loved figure in the early history of animated film. At an early age Reiniger discovered the Chinese art of silhouette puppetry, and made her first silhouettes for a school performance. Growing up during the early years of cinema, she fell in love with the films of Georges Méliès and Paul Wegener, and found imaginative ways to adapt the(...)
mars 2012
Lotte Reiniger: born with enchanting hands, three silhouette sequels
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Lotte Reiniger (1899–1981) is a much loved figure in the early history of animated film. At an early age Reiniger discovered the Chinese art of silhouette puppetry, and made her first silhouettes for a school performance. Growing up during the early years of cinema, she fell in love with the films of Georges Méliès and Paul Wegener, and found imaginative ways to adapt the craft of silhouette-making and shadow puppetry to the possibilities of animation. Reiniger elicited effects of motion from the inflexibility of silhouettes, and even introduced cultural quotations from the works of Charlie Chaplin or Josephine Baker into her magical films. This book reproduces three of her most beautiful silhouette series: versions of Mozart’s Magic Flute and The Marriage of Figaro, and an animal alphabet.
périodiques
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Depuis quelques années déjà, d’étranges espèces apparaissent dans le milieu de l’architecture. Elles portent leur squelette à fleur de peau. De forme tubulaire, elles ont des sections carrées, ovales ou rondes. Elles évoquent les radiolaires que décrivit en 1862 le zoologiste Ernst Haeckel. Ces micro-organismes du plancton animal sont entourés d’une coque siliceuse qui(...)
L'architecture d'aujourd'hui 369 : supports et surfaces
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Depuis quelques années déjà, d’étranges espèces apparaissent dans le milieu de l’architecture. Elles portent leur squelette à fleur de peau. De forme tubulaire, elles ont des sections carrées, ovales ou rondes. Elles évoquent les radiolaires que décrivit en 1862 le zoologiste Ernst Haeckel. Ces micro-organismes du plancton animal sont entourés d’une coque siliceuse qui enferme et protège, tel un récipient armé, une capsule centrale. Mais nos espèces architecturales n’appartiennent pas au monde vivant. Une autre taxinomie, celle des artefacts humains, s’impose à leur classement. La structure entrelacée de nos échantillons nous renvoie à la famille des objets textiles, variations composées d’éléments filiformes tissés ou tressés. À bien des égards, nos objets monumentaux s’apparentent aux nasses et aux corbeilles, fabriquées artisanalement. Comme dans le cas de ces vanneries, leur structure est à la fois support et surface. Leurs belles ossatures exhibées répondent à une double exigence statique et esthétique. Ces enveloppes très performantes sont aussi bien des structures porteuses que des structures visuelles qui animent et décorent leur surface externe : la façade. Les espèces architecturales rassemblées ici sont issues d’un même système d’organisation. Un degré de parenté qui les fait échapper au simple phénomène de mode. Qu’elles s’inspirent de la ruse de la nature ou des gestes élémentaires d’artisans anonymes, ces espèces réveillent dans le domaine architectural un fond très ancien stimulant des recherches futures.
périodiques
mars 2007, Paris
Revues
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In the late eighteenth century, the British took greater interest than ever before in observing and recording all aspects of the natural world. Travelers and colonists returning from far-flung lands provided dazzling accounts of such exotic creatures as elephants, baboons, and kangaroos. The engraver Thomas Bewick (1753–1828) harnessed this newfound interest by assembling(...)
A general history of quadrupeds
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In the late eighteenth century, the British took greater interest than ever before in observing and recording all aspects of the natural world. Travelers and colonists returning from far-flung lands provided dazzling accounts of such exotic creatures as elephants, baboons, and kangaroos. The engraver Thomas Bewick (1753–1828) harnessed this newfound interest by assembling the most comprehensive illustrated guide to nature of his day. "A General History of Quadrupeds", first published in 1790, showcases Bewick’s groundbreaking engraving techniques that allowed text and images to be published on the same page. From anteaters to zebras, armadillos to wolverines, this delightful volume features engravings of over four hundred animals alongside descriptions of their characteristics as scientifically understood at the time. Quadrupeds reaffirms Bewick’s place in history as an incomparable illustrator, one whose influence on natural history and book printing still endures today. With a new foreword by Yann Martel.
The botanical city
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Plant life is a subject frequently ignored in the context of urban theory, and the essays in 'The Botanical City' offer a fresh perspective into new ecological forms that continue to emerge in cities across the world. Much like the unique adaptive strategies of city-native animals, urban plants often become distinctively intertwined with their cities’ human(...)
The botanical city
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Plant life is a subject frequently ignored in the context of urban theory, and the essays in 'The Botanical City' offer a fresh perspective into new ecological forms that continue to emerge in cities across the world. Much like the unique adaptive strategies of city-native animals, urban plants often become distinctively intertwined with their cities’ human infrastructure, and this book explores both the scientific approaches to understanding these new ecologies and attempts on the part of writers and artists to engage with urban flora. Edited by the British cultural geographers Matthew Gandy and Sandra Jasper, the book comprises ecological reflections on city design, history, art and mapmaking, alongside philosophical excursions on the meaning of urban ecology in the Anthropocene.
Paysages urbains
Not what I meant but anyway
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From producing sterile goldfish to choreographing the factory assembly line, Revital Cohen and Tuur Van Balen's work could be thought of as situated— that is to say, it is performed within particular networks. These networks— whether connecting raw materials, mythic conditions, animal genetics, constructions of uncertainty, or colonial inheritances— form a point of(...)
octobre 2022
Not what I meant but anyway
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From producing sterile goldfish to choreographing the factory assembly line, Revital Cohen and Tuur Van Balen's work could be thought of as situated— that is to say, it is performed within particular networks. These networks— whether connecting raw materials, mythic conditions, animal genetics, constructions of uncertainty, or colonial inheritances— form a point of departure from which to think of friction, entanglement, porousness, reflection, and self-implication. ''Not what I meant but anyway'' reveals the methods and processes behind Cohen and Van Balen’s work and working, prioritizing long and multidimensional research and production over its eventual outcomes. Intermingling conversations between the artists on living and working together, their generated ephemera, and a series of external reflections, the book hints at the intimacies and estrangements inherent to their practice. With contributions from Daisy Hildyard, Andrés Jaque, Lucia Pietroiusti, and Xiaoyu Weng.
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This publication fleshes out our understanding of the past with explorations of lived experiences of embodiment from the middle ages to modernity. This intimate approach to history makes it possible to foreground the tactile foundations of Western culture -the ways in which feelings shaped society. Constance Classen explores a variety of tactile realms including the feel(...)
mai 2012
The deepest sense: a cultural history of touch
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This publication fleshes out our understanding of the past with explorations of lived experiences of embodiment from the middle ages to modernity. This intimate approach to history makes it possible to foreground the tactile foundations of Western culture -the ways in which feelings shaped society. Constance Classen explores a variety of tactile realms including the feel of the medieval city; the tactile appeal of relics; the social histories of pain, pleasure, and affection; the bonds of touch between humans and animals; the strenuous excitement of sports such as wrestling and jousting; and the sensuous attractions of consumer culture. She delves into a range of vital issues, from the uses--and prohibitions--of touch in social interaction to the disciplining of the body by the modern state, from the changing feel of the urban landscape to the technologization of touch in modernity.