{"title":"Theory","description":"","products":[{"product_id":"copy-of-pippa-garner-better-living-catalog","title":"Lawrence Abu Hamdan, Live Audio Essays","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003e\u003ci\u003eLive Audio Essays\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003epresents transcripts from performances and films by Lawrence Abu Hamdan, an artist known for his political and cultural reflections on sound and listening.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003eAbu Hamdan’s intricately crafted and heavily researched monologues are at times intimate, humorous, and entertaining, yet politically disquieting in their revelations. Using personal narratives, anecdotes, popular media, and transcripts rooted in historical and contemporary moments, the artist leads the reader through his investigations into crimes that are heard but not\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"DA\"\u003eseen\u003c\/span\u003e. These live audio essays turn our focus to acoustic memories, voices leaking through walls and borders, the drone of warfare, cinematic sound effects, atmospheric noise, the resonant frequencies of buildings, the echoes of reincarnated lives, and the sound of hunger.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003e\u003ci\u003eLive Audio Essays\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ecollects seven iconic works, which were originally presented as performances, films, or video installations from 2014 through 2022. Featured pieces include\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eContra Diction (Speech Against Itself)\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWalled Unwalled\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAfter SFX\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNatq\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eA Thousand White Plastic Chairs\u003c\/i\u003e,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAir Pressure,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand the newly-completed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe \u003c\/em\u003e\u003ci\u003e45th Parallel\u003c\/i\u003e.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"BodyA\"\u003eAll the texts were transcribed and edited with the artist and are available here in a single volume for the first time.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eLawrence Abu Hamdan is a \u003ci\u003ePrivate Ear\u003c\/i\u003e, listening to, with and on behalf of people affected by corporate, state, and environmental violence.\u003ci\u003e \u003c\/i\u003eTaking the form of forensic reports, lectures and live performances, films, and publications, his work reflects on the political and cultural context of sound and listening and has been presented at the 22nd Biennale of Sydney; the 58th Venice Biennale; the 11th Gwangju Biennale; the 13th and 14th Sharjah Biennial; Witte De With, Rotterdam; Tate Modern Tanks; Chisenhale Gallery; Hammer Museum, Los Angeles; and Portikus Frankfurt. He received his PhD in 2017 and has held fellowships and professorships at the University of Chicago; the New School, New York; and the Johannes Gutenberg University Mainz.\u003ci\u003e \u003c\/i\u003eHe is the recipient of the Toronto Biennial Audience Award, the Edvard Munch Art Award, and the Nam June Paik Award, and was the co-winner of the Turner Prize in 2019. His audio investigations have been used as evidence at the UK Asylum and Immigration Tribunal and been a key part of advocacy campaigns for organizations such as Amnesty International, Defence for Children International, and Forensic Architecture.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47407979397455,"sku":"PK0149","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230078.jpg?v=1695636139"},{"product_id":"copy-of-deforrest-brown-jr-assembling-a-black-counter-culture","title":"Various Artists, Black Phoenix: Third World Perspective on Contemporary Art and Culture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis publication is a compilation of all three issues of the journal \u003cem\u003eBlack Phoenix\u003c\/em\u003e published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, \u003cem\u003eBlack Phoenix\u003c\/em\u003e remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eMore than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eissued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003epositioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBlack Phoenix\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eproposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.\u003c\/p\u003e\n\u003cp\u003eContributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).\u003c\/p\u003e\n\u003cp\u003eRasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals \u003cem\u003eBlack Phoenix\u003c\/em\u003e, \u003cem\u003eThird Text\u003c\/em\u003e,\u003cem\u003e \u003c\/em\u003eand \u003cem\u003eThird Text Asia\u003c\/em\u003e, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens\/Kassel, among others.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including \u003c\/span\u003e\u003cem\u003eSugar Coated Pill\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2007), and translated the \u003c\/span\u003e\u003cem\u003eIslamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(2009) and \u003c\/span\u003e\u003cem\u003eFaiz: Fifty Poems\u003c\/em\u003e\u003cspan\u003e (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including \u003c\/span\u003e\u003cem\u003eIslamic Conversations\u003c\/em\u003e\u003cspan\u003e; was a lead writer on Britain’s first Asian soap, \u003c\/span\u003e\u003cem\u003eFamily Pride\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1991–92), and wrote and produced \u003c\/span\u003e\u003cem\u003eTurning World\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(1996) for Channel4 television. He died in London in December 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408542220623,"sku":"PK0158","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230159.jpg?v=1695635032"},{"product_id":"copy-of-lawrence-abu-hamdan-live-audio-essays-6","title":"Flora Yin-Wong, Liturgy","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eLiturgy\u003c\/em\u003e is a journey into the uncanny realm of the senses that dives into histories of perception and intuition. The artist Flora Yin-Wong deploys a variety of images and texts to explore issues related to cosmic principles, conspiracies, and parallel universes. The result is a constellatory work filled with religion, dreams, and fragmented memories and knowledge that also gestures at the artist’s own history. The book’s chapters—Rituals \u0026amp; Fire; Omens; Hexagrams \/ Oracles; Curses; Gods \u0026amp; Creatures; Places Doors to Hell \/ Ghost Cities; Paradoxes; Sound Phenomena; Reality—function like a secret dossier inflected with flights of fantasy, speaking to systems of faith and language and its corruptions.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eDivining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLiturgy\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003einterweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound.\u003c\/p\u003e\n\u003cp\u003eFlora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria \u0026amp; Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":47408660087119,"sku":"PK0164","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231315.jpg?v=1698231065"},{"product_id":"copy-of-pei-ying-lin-virophilia-the-2070-revised-edition-of-the-postnatural-cookbook","title":"Oliver Vodeb and Jason Grant, What is post-branding? How to Counter Fundamentalist Marketplace Semiotics","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003ePost-Branding empowers better design of public communication for civic and activist groups by replacing corporate branding’s predatory principles with a new set of strategies embedded in a new culture of craft. A new way of being and knowing, for a new way of relating with the world.\u003c\/p\u003e\n\u003cp\u003eBrands aren’t just intruding on culture, they are our culture. They are the sponsored mechanisms for constructing and manipulating meaning and human identity. But should we cede such a fundamental human need to the market? If not, why not, and is there an alternative?\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat is Post Branding?\u003c\/em\u003e is a work of ‘practical theory’. It is a compact ‘pocket-book’ format publication composed of four main sections. The first, \u003cem\u003e‘DIS-BRANDED’,\u003c\/em\u003e is a text of 20 short page-long chapters exposing the ideological underbelly and real-world impact of branding. The second, \u003cem\u003e‘MIXED MESSAGES’,\u003c\/em\u003e is a provocative visual essay illuminating the texts’ main themes. The third, \u003cem\u003e‘MANUAL’,\u003c\/em\u003e presents a framework for a critical alternative to corporate branding, humorously appropriating found instructional diagrams as a brand manual satire. This section also includes examples of completed contemporary projects that have implemented post-branding principles. The book concludes with \u003cem\u003e‘CONTEXT’,\u003c\/em\u003e featuring a conversation with cultural theorist Brian Holmes and an argument with design historian Steven Heller.\u003c\/p\u003e\n\u003cp\u003ePart design experiment, part critical theory, and part how-to-manual, \u003cem\u003eWhat is Post-Branding?\u003c\/em\u003e introduces a creative counter to branding’s neoliberal orthodoxy.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘The book is reminiscent of Marshall McLuhan and Quentin Fiore’s \u003c\/em\u003eThe Medium is the Massage\u003cem\u003e, cautioning against a kind of mind (and soul) control… and brings some of those pre-branding, pre-digital ideas to the 21st century.’ \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e– Steven Heller\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘As we grapple with the concepts and tools of 21st century communications, What is Post-Branding? arrives as a key to the crisis of imagination in which it seems easier to imagine the end of nature than the fundamental system and technological changes needed to shift onto a path of real sustainability. It invites a bright future of infinite potential built on collaborative communcations as an antidote to corporate competition’s bleak zero sum branding game.’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e – Mike Townsley\u003cbr\u003eCommunications Director, Greenpeace International\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘Rarely do designers fully understand the proper social, cultural and political significance of branding. This book is the exception – it is a critical, extremely witty and creatively produced antidote to branding’s hype. It is a guide through the minefield of mass communication and identity design. In a time that is truly disorientating for both creatives and the general public, “What is Post-Branding” should be read, not just by anyone interested in the subject, but everyone who is concerned about where we are heading as a society, and about how we can stay human.’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e– Jonathan Barnbrook\u003cbr\u003eBarnbrook Design \/ VirusFonts\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422583537999,"sku":"PK0078","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230877.jpg?v=1696168720"},{"product_id":"copy-of-seulbin-roh-to-live-as-an-asian-woman","title":"Gavin Murphy and Mark Cullen (Eds.), Artist-Run Europe Practice\/Projects\/Spaces","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSince first being published in 2016, this groundbreaking study has become a key text on the subject, a practical tool for those running or wishing to set up artist-run spaces, and a source of research for artists, academics and students, seminars, symposia and publications. This 2nd edition includes an updated and expanded index of artist-run spaces, with the inclusion of 50 additional spaces, and featuring spaces from Ukraine for the first time. \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003ePart how-to manual, part history, and part socio-political critique, Artist-Run Europe looks at the conditions, organisational models, and role of artist-led practice within contemporary art and society. The aim is to show how artist-run practice manifests itself, how artist-run spaces are a distinctive and central part of visual art culture, and how they present a complex, heterogeneous, and necessary set of alternatives to the art institution, museum and commercial gallery.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003eIn a self-reflexive, critically questioning process, contributions discuss and analyse areas such as: What position do artist-run spaces occupy within the field of contemporary art today? Should they stand in opposition to or in parallel to other art-world structures? How is value ascribed to these often transitory practices, and is this value recognised within the field? How are these spaces organised? Can artist-run spaces develop and be sustained without the need to institutionalise? What do artist-run spaces add to the ecology of the civil society? What can we say about future (or hoped for) trajectories?\u003c\/span\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003eIncludes texts by Jason E. Bowman, AA Bronson, Noelle Collins, Valerie Connor, Mark Cullen, Céline Kopp, Joanna Laws, Freek Lomme, Megs Morley, Gavin Murphy, Gavin Wade, and Katherine Waugh. With case studies of spaces and projects:\u003cspan\u003e \u003c\/span\u003eTriangle France, Transmission Gallery, Pallas Projects\/Studios, Eastside Projects, Catalyst Arts, Pink Cube, Secession, Dienstgebaeude, Supermarket, 126 Artist-led Gallery, and The Artist-led Archive; and an expansive and detailed index of artist-run spaces in Europe.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e and an expanded and updated 40-page index of artist-run spaces in Europe.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Body\"\u003e\u003cspan lang=\"EN-US\"\u003eSecond Edition researched, edited and produced Pallas Projects, Dublin, funded by The Arts Council of Ireland\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422657495375,"sku":"PK0080","price":22.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202304511.jpg?v=1705062103"},{"product_id":"copy-of-gavin-murphy-and-mark-cullen-eds-artist-run-europe-practice-projects-spaces","title":"Ian Lynam, The Failed Painter Or: Unchained by Material Anxiety","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe g̶r̶a̶p̶h̶i̶c̶ d̶e̶s̶i̶g̶n̶e̶r̶ \u003cem\u003eFailed Painter\u003c\/em\u003e is a personal book about material anxiety in Graphic design’s creative work. It speaks of fascination for singular and multiple production processes, perfectibility, and imperfectability in times of virtual surface and hunger for authenticity.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp class=\"font_8\"\u003eWriting out of the persona \u003cem\u003e‘The Failed Painter’\u003c\/em\u003e, this book is a collection of essays on design and art spanning culture, race, nation, and sheer vandalism from the author of\u003cspan\u003e \u003c\/span\u003eThe Impossibility of Silence: Writing for Designers, Artists \u0026amp; Photographers. Within this highly curated, yet varied assortment of approachable writing on aesthetics: space exploration, mercenaries, puberty, instant nostalgia, precarious labor, and of course, zombies.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422668407119,"sku":"PK0081","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023049411.jpg?v=1705312906"},{"product_id":"copy-of-ian-lynam-the-failed-painter-or-unchained-by-material-anxiety","title":"Demian Conrad Et al., Graphic Design in the Post-Digital Age A Survey of Practices Fueled by Creative Coding","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eGraphic Design in the Post-Digital Age\u003c\/em\u003e examines the challenges and opportunities in the wake of the rapid rise of creative coding within a growing community of designers opting to make their own design tools.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eThis comprehensive overview covers educational approaches in design programs and the historic and economic contexts of programming in graphic design, as well as the implications surrounding the integration of coding with design. The book includes over twenty interviews in which major figures in design reflect upon the ways in which coding has innovated and transformed their design practice and strategies, and the directions it will take in the future.\u003c\/p\u003e\n\u003cp\u003eIntroduction text by Demian Conrad, with an essay by Silvio Lorusso, and interviews by Demian Conrad and Rob van Leijsen with Dimitri Jeanottat (CH), Ted Davis (US), Urs Hofer (CH), Jeroen Barendse (NL), Casey Reas (US), Yehwan Song (KR), Luuse \/ Marianne Plano + Léonard Mabille (FR\/BE), Sarah Garcin (FR), Tancrède Ottiger (CH), Jürg Lehni (CH), Loraine Furter (CH), Raphael Bastide (FR), Petr van Blokland (NL), Dinamo \/ Fabian Harb + Fabiola Mejía (CH), Johnson\/Kingston \/ Ivan Weiss + Michael Kryenbühl (CH), Eurostandard \/ Pierrick Brégeon + Ali-Eddine Abdelkhalek (CH), Zach Lieberman (US), Samuel Weidmann (CH), Erik van Blokland (NL), Studio Dumbar \/ Sander Sturing and Stan Haanappel (NL), Émilie Pillet (CH) and Dia Studio \/ Mitch Paone (US).\u003c\/p\u003e\n\u003cp\u003eEditorial and research team: Demian Conrad, Rob van Leijsen, David Héritier, Aviva Cashmira, Nicolas Nova, Anthony Masure, Daniel Sciboz\u003c\/p\u003e\n\u003cp\u003eGraphic Design: Johnson\/Kingston\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422734369103,"sku":"PK0082","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023044211.jpg?v=1705062183"},{"product_id":"copy-of-demian-conrad-et-al-graphic-design-in-the-post-digital-age-a-survey-of-practices-fueled-by-creative-coding","title":"Gavin Murphy, Remaking the Crust of the Earth","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp class=\"Default\"\u003e\u003cspan lang=\"EN-US\"\u003eIdealism and imagination, dreams and reality, all come into play when we consider glass: from an elemental, ritual and decorative material of mysterious origins, to functional, technological, mass-produced commodity. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Default\"\u003e\u003ci\u003e\u003cspan lang=\"EN-US\"\u003eRemaking the Crust of the Earth\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN-US\"\u003epresents a layered, intertextual, cultural history which examines the ways in which glass has transformed society — how humans situate themselves within the environment, and how we view the world. Through the unlikely accident of its discovery to its present day ubiquity, it considers glass in its myriad guises: from the modular prefabrication of Joseph Paxton’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e‘\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eCrystal Palace\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e’\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eto the optimism of Paul Scheerbart’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eGlasarchitektur\u003c\/i\u003e, both of which in their own way lay a path for modernism, the curtain wall, and the 20th century\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e‘\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eglass house\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e’\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e. Traversing time and space, this book draws on archival material (and in particular the encyclopaedic 1937 publication ‘Glass in Architecture and Decoration\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e’\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003eby Raymond McGrath \u0026amp; A.C. Frost) to explore previous and unfulfilled stages of material history, revealing alternatives which belie an\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e‘\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003einevitable\u003c\/span\u003e\u003cspan dir=\"RTL\" lang=\"AR-SA\"\u003e’\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003econtemporary (and its futures).\u003c\/span\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp class=\"Default\"\u003e\u003cspan lang=\"EN-US\"\u003eThe publication features excerpts from the film\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eRemaking the Crust of the Earth\u003c\/i\u003e, a series of restaged photographic glass tests conducted by Gavin Murphy and Louis Haugh, and new essays by Marysia Wieckiewicz-Carroll and Chris Fite-Wassilak, alongside reproductions from the Raymond McGrath collection in the Irish Architectural Archive.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422759895375,"sku":"PK0083","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0083_Remaking_the_crust.jpg?v=1695911714"},{"product_id":"copy-of-gavin-murphy-remaking-the-crust-of-the-earth","title":"Afonso Matos, Who can Afford to be Critical?","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘Critical Designers’ produced by an increasing number of design schools are prompted to address social, political and environmental issues through their practices. Yet, who can afford to continue such effort after graduation?\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eIn a dynamic style holding multiple voices,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eWho can Afford to be Critical?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ediscusses the limits that affordability, class and labour impose upon the educational promise of holding a ‘critical’ practice. Why do we tend to ignore the material and socioeconomic constraints that bind us as designers, claiming instead that we can be powerful agents of change? In fact, where does our agency lie?\u003c\/p\u003e\n\u003cp\u003eInstead of focusing on the dream of ethical work under capitalism, could we, instead, focus first on designers’ own working conditions, targeting them as one immediate site for collective action? And can we engage politically with the world not necessarily as designers, but as workers, as activists, as citizens?\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422771102031,"sku":"PK0084","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202300871.jpg?v=1700234647"},{"product_id":"copy-of-afonso-matos-who-can-afford-to-be-critical","title":"Ian Lynam, The Impossibility of Silence: Writing for Designers, Artists \u0026 Photographers","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eThe Impossibility of Silence\u003c\/em\u003e\u003cspan\u003e is a book for artists, designers and photographers interested in approaching writing about their vocation and culture. Drawing upon decades of experience as a writer, designer, artist and teacher, Ian Lynam offers up a plethora of inspirational and concrete approaches to writing about creative fields.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422817173839,"sku":"PK0085","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230720.jpg?v=1695902116"},{"product_id":"copy-of-freek-lomme-50-anniversaries-from-the-private-collection-of-freek-lomme","title":"Johanna Drucker, Diagrammatic Writing","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eDiagrammatic Writing\u003c\/em\u003e is a poetic demonstration of the capacity of format to produce meaning. The articulation of the codex, as a space of semantically generative relations, has rarely (if ever) been subject to so highly focused and detailed a study. The text and graphical presentation are fully integrated, co-dependent, and mutually self-reflexive.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cp class=\"font_8\"\u003eThis small book work should be of interest to writers, bibliographers, designers, conceptual artists, and anyone interested in the meta-language of diagrammatic thought in graphic form.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422852530511,"sku":"PK0087","price":7.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230725.jpg?v=1695902170"},{"product_id":"freek-lomme-ed-can-you-feel-it-effectuating-tactility-and-print-in-the-contemporary","title":"Freek Lomme (Ed.), Can you feel it? Effectuating Tactility and Print in the Contemporary","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHands reaching and feeling, noses sniffing, eyes scrolling: the magic at book shops and at book fairs is also very much a tactile one. But what exactly is the tactile, in a world in which a rising technocracy exploits the designed environment we feel? Who authorizes and who writes, what tradition do we stand in and how can we touch base?\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cp\u003eThis reader explores how our interaction with printed matter affects us through theory, thoughts, and practices in the field of graphic design, materiality, philosophy, science and art. Although the core of this book rests upon theory and thoughts, with eight writings from scientists and philosophers to a paper-specialist and art writers, this book also compiles practice-based experiments by six international artists and includes animated introductions of printing techniques in the form of fictionalised characters.\u003c\/p\u003e\n\u003cp\u003eEdited with introduction and afterword by Freek Lomme\u003cbr\u003eText by Lars Bang Larsen, Christopher Breu, Johanna Drucker, Alessandro Ludovico, Esther Krop, Rik Peters, Marieke Sonneveld.\u003cbr\u003eArtists: Sema Bekirovic (NL), Matthieu Blanchard (FR), Lieven De Boeck(BE), Frederic Geurts (BE), Ulrike Mohr (DE),Thomas Rentmeister (DE).\u003cbr\u003eAuthor of fictional interviews: Juliette Pepin\u003c\/p\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":47422928191823,"sku":"PK0090","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023047811.jpg?v=1705312951"},{"product_id":"marie-france-rafael-raphaela-vogel-outside-form","title":"Marie-France Rafael, Raphaela Vogel : Outside Form","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn this interview, Marie-France Rafael and the artist Raphaela Vogel probe the perennial question of form, asking: \u003cem\u003eWhat is the relationship between form and time?\u003c\/em\u003e In their conversation, Rafael and Vogel contemplate the potential of putting artistic mediums in dialogue with one another, proffering a new vision of what form can achieve.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"citation\"\u003eSince the 2010s, the line between public and private, online and offline have increasingly become blurred by digitalization and social media. In contemporary art, digitality has assumed a new type of presence—no longer only as a virtual sphere of sociality, but increasingly as a technological interface that structures our embodied experiences. What is presented in an \"exhibition\"? And how should we write about the new types of post-digital images we are seeing (in them)?\u003cbr\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePassing Images: Art in the Post-Digital Age\u003c\/em\u003e, Marie France Rafael provides an attempt to write with art, rather than just about it. Rafael aims to retrace the living spirit of art and the procedural-performative experience of art in her writing.\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eMarie-France Rafael (born 19984 in Munich) is a tenure-track professor in the Department of Fine Arts at the Zurich University of the Arts (ZHdK). She holds a PhD in art history; she studied art history and film studies in Berlin and Paris. From 2011 to 2015, she was a research associate at the Free University of Berlin and until 2019 at the Muthesius University Kiel, Department of Spatial Strategies\/Curatorial Spaces. She is notably the author of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReisen im Imaginativ: Künstlerische Situationen und Displays\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Travel in the Imaginary: Artistic Situations and Displays, 2017) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAri Benjamin Meyers: Music on Display\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2016).\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eRaphaela Vogel is a Berlin-based artist working primarily in video, installation, and sculpture. Her work has been exhibited at, among other places, Kunsthalle Basel, Haus der Kunst in Munich, the Berlinische Galerie, and the 2022 Venice Biennale.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47497899049295,"sku":"PK0029","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231263.jpg?v=1698139109"},{"product_id":"steven-warwick-notes-on-evil","title":"Steven Warwick, Notes on Evil","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn investigation into the current social architectures that determine the perception of the notion of \"evil\"... and the production of figures that embody it.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv\u003eWhat is evil? How is it categorised, understood, and used as a tool? Surveying recent examples of \"evil\" which have taken hold in mass culture, Notes on Evil examines the mechanisms by which societies construct new enemies in a collective bid to rid themselves of their problems, usually culminating in largely superficial or aestheticised purges. Do societies necessarily need to create evil villains in order to function? And is the villain's role best understood as that of a court jester, who symbolically appears to mock the sovereign, while actually reinforcing their position of power?\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003eArtist and writer Steven Warwick reflects on the overlapping social architectures which frame our current discourse on good and evil, ultimately charting a path beyond our present climate of reductivism, false binaries, and collective impasse.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eSteven Warwick is a British artist, musician and writer residing in Berlin. His practice includes durational performance installations, plays and films using the construction of situations and language. He also makes music under his own name, and previously as Heatsick. His writing has appeared in Texte zur Kunst, Frieze, Urbanomic, Artforum, Spike and Electronic Beats and has co-authored a book released on Primary Information.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47498153197903,"sku":"PK0031","price":13.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230872.jpg?v=1695999658"},{"product_id":"copy-of-steven-warwick-notes-on-evil","title":"Karen Archey, After Institutions","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWithin the history of contemporary visual art, the canon of Institutional Critique has emerged as a response to the institution and how it embeds itself in society. \u003cem\u003eAfter Institutions\u003c\/em\u003e expands the definition of Institutional Critique to develop a broader understanding of contemporary art’s sociopolitical entanglements, looking beyond what cultural institutions were to what they are and what they might become.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47498205397327,"sku":"PK0032","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230867.jpg?v=1695999691"},{"product_id":"copy-of-marie-france-rafael-raphaela-vogel-outside-form","title":"Marie-France Rafael, Passing Images – Art in the Post-Digital Age","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eImage and contemporary art in the post-digital age.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003eSince the 2010s, the line between public and private, online and offline have increasingly become blurred by digitalization and social media. In contemporary art, digitality has assumed a new type of presence—no longer only as a virtual sphere of sociality, but increasingly as a technological interface that structures our embodied experiences. What is presented in an \"exhibition\"? And how should we write about the new types of post-digital images we are seeing (in them)?\u003cbr\u003eIn\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePassing Images: Art in the Post-Digital Age\u003c\/em\u003e, Marie France Rafael provides an attempt to write with art, rather than just about it. Rafael aims to retrace the living spirit of art and the procedural-performative experience of art in her writing.\u003c\/div\u003e\n\u003cdiv class=\"note\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bioAuteur\"\u003eMarie-France Rafael (born 19984 in Munich) is a tenure-track professor in the Department of Fine Arts at the Zurich University of the Arts (ZHdK). She holds a PhD in art history; she studied art history and film studies in Berlin and Paris. From 2011 to 2015, she was a research associate at the Free University of Berlin and until 2019 at the Muthesius University Kiel, Department of Spatial Strategies\/Curatorial Spaces. She is notably the author of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReisen im Imaginativ: Künstlerische Situationen und Displays\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Travel in the Imaginary: Artistic Situations and Displays, 2017) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAri Benjamin Meyers: Music on Display\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2016).\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47520477774159,"sku":"PK0030","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/PK0030_Passing_Images.jpg?v=1696085666"},{"product_id":"william-j-simmons-queer-formalism-the-return","title":"William J. Simmons, Queer Formalism: The Return","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eQueer Formalism: The Return\u003c\/em\u003e is the first installment in the Critic’s Essay Series published by Floating Opera Press. Comprising long-form essays, this series gives voice to critics who offer thought-provoking ways in which to subvert or replace normative modes of discussing culture.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cspan\u003e\u003cem\u003eQueer Formalism: The Return\u003c\/em\u003e expands upon William J. Simmons’s original, influential essay \u003cem\u003e“Notes on Queer Formalism”\u003c\/em\u003e from 2013, offering novel ways of thinking about queer-feminist art outside of the critical-complicit and abstract-representational binaries that continue to haunt contemporary queer art. It therefore proposes a new kind of queer art writing, one that skirts the limits imposed by normative histories of art and film. Artists addressed in \u003cem\u003eQueer Formalism: The Return\u003c\/em\u003e include: Sally Mann, David Lynch, Lars von Trier, Math Bass, Lorna Simpson, Laurie Simmons, Alex Prager, Lana Del Rey, Jessica Lange, and Louise Lawler, among others.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWilliam J. Simmons is an art historian, curator, writer, and poet based in Los Angeles and New York. He has degrees in art history from Harvard University and the University of Southern California. His work has been published in numerous international journals, magazines, edited volumes, and monographs, and he has lectured widely. He is a contributing editor at King Kong Magazine and Flash Art. He was the Curator of Special Projects for the 2020 Felix Fair in Los Angeles.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47521026408783,"sku":"PK0034","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230851.jpg?v=1695999723"},{"product_id":"copy-of-william-j-simmons-queer-formalism-the-return","title":"Skye Arundhati Thomas, Remember the Details","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn ​\u003cem\u003eRemember the Details\u003c\/em\u003e, Skye Arundhati Thomas reflects on the Indian protest movement that began in mid-2019 against xenophobic and casteist citizenship laws. This essay is a piece of political reportage told through the story of images and their afterlife. In the wake of the state erasure of these events, it asks what it means to remember, and how words and imagery inscribe reality into history.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47521128350031,"sku":"PK0035","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230857.jpg?v=1695999764"},{"product_id":"ciaran-finlayson-perpetual-slavery","title":"Ciarán Finlayson, Perpetual Slavery","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn \u003cem\u003ePerpetual Slavery\u003c\/em\u003e, Ciarán Finlayson investigates the relationship of art to freedom in the work of Cameron Rowland and Ralph Lemon, who both utilize imagery of labor haunted and structured by the historical experience of slavery. Finlayson suggests that these two artists' work overcomes the dichotomy between the recording of history and its interpretation by making both the object of artistic experience, thereby providing a space to grasp the continuing effects of slavery\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47570804965711,"sku":"PK0368","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231258.jpg?v=1698324188"},{"product_id":"on-gender-performance","title":"Marie-France Rafael, Brice Dellsperger: On Gender Performance","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBrice Dellsperger pushes the boundaries of genre and gender. In his multifaceted reprises of iconic film sequences—all assembled under the title \u003cem\u003eBody Double\u003c\/em\u003e—the cineast and artist reenacts selected scenes from well-known films frame for frame and lets his “body doubles” perform all of the roles, be they male or female. In this conversation between Dellsperger and Marie-France Rafael, following current (post)gender discussions, the artist describes sexuality and (sexual) identity as products of a cultural construction informed by audiovisual technologies. Film, video, and the Internet do not depict a preexisting sexuality but establish an image of it and its (normative) framework.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp class=\"accroche\" itemprop=\"description\"\u003eThroughout this exchange, the artist highlights how he, starting from travesty and doubles, undermines existing identity systems in order to develop new artistic strategies for subjectivity.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47811548610895,"sku":"PK0366","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/gender_performance.jpg?v=1698335520"},{"product_id":"marlene-a-schenk-and-lena-marie-emrich-the-darkest-corners","title":"Marlene A. Schenk and Lena Marie Emrich, The Darkest Corners","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThe Darkest Corners\u003c\/em\u003e documents and explores sculptures by Lena Marie Emrich and an eponymous exhibition.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEmrich’s sculptures take inspiration from \u003cem\u003epissabraga\u003c\/em\u003e or \u003cem\u003egobbe antibandito\u003c\/em\u003e, architectural objects that dot Venice’s alleyways and corridors.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv itemprop=\"description\"\u003eTexts by the curator of the exhibition, Marlene A. Schenk, as well as Mario Ciaramitaro and Alberto Restucci poetically and practically elucidate the concept of cohesion that is central to Emrich’s work. By exposing what is normally hidden or walked by, the sculptures and texts work together to address the wonder and mysteriousness of how a city sticks together.\u003c\/div\u003e\n\u003cdiv itemprop=\"description\"\u003e\n\u003cbr\u003eMarlene A. Schenk is a curator and writer based in Berlin.\u003c\/div\u003e\n\u003cdiv itemprop=\"description\"\u003e\n\u003cbr\u003eLena Marie Emrich is a sculptor and multidisciplinary artist based in Berlin.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":47811622797647,"sku":"PK0432","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202302211.jpg?v=1701696420"},{"product_id":"mark-graham-et-al-eds-how-to-run-a-city-like-amazon-and-other-fables","title":"Mark Graham, Et al., (Eds.), How to Run a City Like Amazon, and Other Fables","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShould cities be run like businesses?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eShould city services and infrastructure be run by businesses?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFor some urban commentators, policy-makers, politicians and corporate lobby groups, the answer is ‘yes’ to both questions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOthers are critical of such views, cautious about shifting the culture of city administration from management to entrepreneurship, and transforming public assets and services run for the common good into markets run for profit.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe stories and essays in this book explore how a city might look, feel and function if the business models, practices and technologies of 38 different companies were applied to the running of cities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThey ask: what would it be like to live in a city administered using the business model of Amazon (or Apple, IKEA, Pornhub, Spotify, Tinder, Uber, etc.) or a city where critical public services are delivered by these companies?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCollectively, the chapters ask us to imagine and reflect on what kind of cities we want to live in and how they should be managed and governed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999495110991,"sku":"PK0561","price":18.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023017211.jpg?v=1701976886"},{"product_id":"frederike-kaltheuner-ed-fake-ai","title":"Frederike Kaltheuner, (ed.), Fake AI","description":"\u003cp\u003eFrom predicting criminality to sexual orientation, fake and deeply flawed Artificial Intelligence (AI) is rampant. Amidst this feverishly hyped atmosphere, this book interrogates the rise and fall of AI hype, pseudoscience and snake oil. Bringing together different perspectives and voices from across disciplines and countries, it draws connections between injustices inflicted by inappropriate AI. Each chapter unpacks lazy and harmful assumptions made by developers when designing AI tools and systems, and examines the existential underpinnings of the technology itself to ask: why are there so many useless, and even dangerously flawed, AI systems?\u003c\/p\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999588893007,"sku":"PK0559","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023016711.jpg?v=1701977035"},{"product_id":"corrine-cath-ed-eaten-by-the-internet","title":"Corrine Cath, (Ed.), Eaten by the Internet","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis book makes internet infrastructure visible as a force of political power—through fifteen chapters contributed by a global set of researchers, activists, and techies. It roots contemporary technology debates in the politics of internet infrastructure and urges us to ask how can we ensure our infrastructures sustain us, rather than consume us?\u003c\/p\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999626543439,"sku":"PK0558","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023016111.jpg?v=1701977288"},{"product_id":"linnet-taylor-et-al-eds-data-justice-and-covid-19-global-perspectives","title":"Linnet Taylor, Et al., (Eds.), Data Justice and COVID-19: Global Perspectives","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eThe COVID-19 pandemic has reshaped how social, economic, and political power is created, exerted, and extended through technology. Through case studies from around the world, this book analyses the ways in which technologies of monitoring infections, information, and behaviour have been applied and justified during the emergency, what their side-effects have been, and what kinds of resistance they have met.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe book contains 38 essays of commentary and analysis comparing and contrasting how different surveillance technologies have been rolled-out in response to the pandemic. With sixty different authors covering events in over thirty countries.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999700140367,"sku":"PK0560","price":16.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202301441.jpg?v=1701977432"},{"product_id":"joe-shaw-mark-graham-eds-our-digital-rights-to-the-city","title":"Joe Shaw, Mark Graham, (Eds.), Our Digital Rights to the City","description":"\u003cp\u003e\u003cem\u003e‘Our Digital Rights to the City’\u003c\/em\u003e is a small collection of articles about digital technology, data and the city.\u003c\/p\u003e\n\u003cp\u003eIt covers a range of topics relating to the political and economic power of technologies that are now almost inescapable within the urban environment. This includes discussions surrounding security, mapping, real estate, smartphone applications and the broader idea of a ‘right to the city’ in a post-digital world.\u003c\/p\u003e\n\u003cp\u003eThe collection is edited by Joe Shaw and Mark Graham and its contributing authors are: Jathan Sadowski, Valentina Carraro, Bart Wissink, Desiree Fields, Kurt Iveson, Taylor Shelton, Sophia Drakopoulou and Mark Purcell.\u003c\/p\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999778029903,"sku":"PK0562","price":6.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202301561.jpg?v=1702290673"},{"product_id":"joe-shaw-mark-graham-eds-towards-a-fairer-gig-economy","title":"Joe Shaw, Mark Graham, (Eds.), Towards a Fairer Gig Economy","description":"\u003cp\u003e\u003cem\u003e‘Towards a Fairer Gig Economy’\u003c\/em\u003e is a small collection of articles examining the social and economic problems associated with the ‘gig economy’. The gig economy includes a wide range of labour carried out by workers providing services as couriers, taxi drivers, online freelancers and more. Issues examined include an over-supply of labour, falling wages, long hours and poor working conditions. Each article makes suggestions for how these problems can be addressed and how a fairer gig economy can be built: including through regulation, collective bargaining and wider policy recommendations. The collection’s contributors include cycle couriers, union organisers, academics and researchers.\u003c\/p\u003e","brand":"Meatspace Press","offers":[{"title":"Default Title","offer_id":47999813157199,"sku":"PK0563","price":6.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/towardsafairer.jpg?v=1702291924"},{"product_id":"skin-deep-issue-10-play","title":"Skin Deep, Issue 10: Play","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003e\u003cstrong\u003eUK\/EUROPE\/USA\/ASIA\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003eSkin Deep makes space for Black creatives and creatives of colour to work towards justice.\u003c\/p\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003eIn this landmark 10th issue, PLAY explores the revolutionary potential of play as a tool for reimagining, a tactic for resisting, and a necessary release that enables us to keep up the relentless work of building new worlds.\u003c\/p\u003e\n\u003cp dir=\"auto\" data-mce-fragment=\"1\"\u003eEdited by Charlie Brinkhurst-Cuff and June Bellebono alongside the Skin Deep team, PLAY features contributions from: Otamere Guobadia, Lakeisha Goedluck, Ciaran Thapar, Risa Puno, Dominic Cadogan, Amuna Wagner, Amy Li Baksh, Simran Uppal, Kieran Yates, Zena Agha, Sonji Shah, Amahra Spence, Nkenna A Ibeakanma, Ruchira Sharma, Maysa P, Hadiru Mahdi, Jonas Fine Tan, Malaika Francique, Harshad Marathe, Wendy Wong, Julie Lai, Hwa Young Jung, Shweta Sharma, Sasha Kelley and Elliott Jerome Brown Jr.\u003c\/p\u003e","brand":"Skin Deep","offers":[{"title":"Default Title","offer_id":48000448627023,"sku":"PK0498","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230344.jpg?v=1702639092"},{"product_id":"samuel-clowes-huneke-a-queer-theory-of-the-state-1","title":"Samuel Clowes Huneke, A Queer Theory of the State","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eQueer theory has often been hesitant to align itself with a politics of the state, approaching it with a negative or pragmatic framework. \u003cem\u003eA Queer Theory of the State\u003c\/em\u003e offers a more optimistic perspective. Rather than eschew engagement with democratic theorizing, the historian Samuel Clowes Huneke asks how queer theory can wed its critically anti-normative impulses to the empirical need for a state. In answering this question, Huneke shows how the state is an integral component of a politics that seeks to subvert and undo the oppression of queer lives.\u003c\/p\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"accroche\" itemprop=\"description\"\u003e\n\u003cdiv class=\"citation\"\u003e\n\u003cdiv itemprop=\"description\"\u003e\n\u003cbr\u003eSamuel Clowes Huneke is assistant professor of history at George Mason University. His first book, \u003cem\u003eStates of Liberation: Gay Men Between Dictatorship and Democracy in Cold War Germany\u003c\/em\u003e (2022), won the Charles E. Smith Award for best book in European History from the European History Section of the Southern Historical Association. Huneke has written for Boston Review, the Washington Post, The Point, and the Los Angeles Review of Books.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Floating Opera Press","offers":[{"title":"Default Title","offer_id":48060835234127,"sku":"PK0431","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230338.jpg?v=1702651497"},{"product_id":"deforrest-brown-jr-assembling-a-black-counter-culture","title":"DeForrest Brown, Jr., Assembling a Black Counter Culture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDeForrest Brown, Jr.’s \u003cem\u003eAssembling a Black Counter Culture\u003c\/em\u003e presents a comprehensive account of techno with a focus on the history of Black experiences in industrialized labor systems—repositioning the genre as a unique form of Black musical and cultural production.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eBrown traces the genealogy and current developments in techno, locating its origins in the 1980s in the historically emblematic city of Detroit and the broader landscape of Black musical forms. Reaching back from the transatlantic slave trade to Emancipation, the Industrial Revolution, and the Great Migration from the rural South to the industrialized North, Brown details an extended history of techno rooted in the transformation of urban centers and the new forms of industrial capitalism that gave rise to the African American working class. Following the groundbreaking work of key early players like The Belleville Three, the multimedia output of Underground Resistance and the mythscience of Drexciya, Brown illuminates the networks of collaboration, production, and circulation of techno from Detroit to other cities around the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAssembling a Black Counter Culture\u003c\/em\u003e\u003cspan\u003e reframes techno from a Black theoretical perspective distinct from its cultural assimilation within predominantly white, European electronic music contexts and discourse. With references to Theodore Roszak’s \u003c\/span\u003e\u003cem\u003eMaking of a Counter Culture, \u003c\/em\u003e\u003cspan\u003ewritings by African American autoworker and political activist James Boggs, and the “techno rebels” of Alvin Toffler’s \u003c\/span\u003e\u003cem\u003eThird Wave, \u003c\/em\u003e\u003cspan\u003eamong others, Brown draws parallels between movements in Black electronic music and Afrofuturist, speculative, and \u003c\/span\u003e\u003cspan\u003eAfrodiasporic practices to imagine a world-building sonic fiction and futurity embodied in techno.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDeForrest Brown, Jr. is an Alabama-raised rhythmanalyst, writer, and representative of the Make Techno Black Again campaign. As Speaker Music, he channels the African American modernist tradition of rhythm and soul music as an intellectual site and sound of generational trauma. On Juneteenth of 2020, he released the album Black Nationalist Sonic Weaponry on Planet Mu. His written work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music, and has appeared in \u003c\/span\u003e\u003cem\u003eArtforum\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eTriple Canopy\u003c\/em\u003e\u003cspan\u003e, NPR, \u003cem\u003eCTM Festival\u003c\/em\u003e, \u003c\/span\u003e\u003cem\u003eMixmag\u003c\/em\u003e\u003cspan\u003e, among many others. He has performed or presented work at Haus der Kulturen der Welt, Berlin; Camden Arts Centre, UK; Unsound Festival, Krakow; Sónar, Barcelona; Issue Project Room, New York; and elsewhere. \u003cem\u003eAssembling a Black Counter Culture\u003c\/em\u003e is Brown’s debut book.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eEdition of 4000\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Primary Information","offers":[{"title":"Default Title","offer_id":48072601207119,"sku":"PK0157","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20230100_372e4870-3db1-44eb-806f-c52186653ab3.jpg?v=1702906507"},{"product_id":"sinthujan-varatharajah-moshtari-hilal-english-in-berlin","title":"Sinthujan Varatharajah, Moshtari Hilal, English in Berlin","description":"\u003cp\u003e\u003cem\u003eEnglish in Berlin. Exclusions in a Cosmopolitan Society\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn Kreuzberg cafés or Neukölln vintage shops, cosmopolitan Berlin speaks English as a matter of course. But how did the English language take hold in these places? Who speaks English in Berlin and who is excluded in doing so? Isn't it just a short while ago that groups who conversed in a language other than German were stigmatised as parallel societies by the German media? Political geographer சிந்துஜன் வரதராஜா (Sinthujan Varatharajah) and artist مشترى هلالال (Moshtari Hilal) explore these questions in an Instagram Live conversation, available in this volume in an extended version in German and English translation. They uncover the underlying double standards and capital interests of the German mainstream society, trace the links with gentrification and asylum policy, and search for forms of equitable cultural work.\u003c\/p\u003e","brand":"Wirklichkeit Books","offers":[{"title":"Default Title","offer_id":48091184365903,"sku":"PK0568","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/English-in-berlinjpg.jpg?v=1706875127"},{"product_id":"silvio-lorusso-what-design-can-t-do-essays-on-design-and-disillusion-1","title":"Silvio Lorusso, What Design Can’t Do - Essays on Design and Disillusion","description":"\u003cp data-mce-fragment=\"1\"\u003eDesign is broken. Young and not-so-young designers are becoming increasingly aware of this. Many feel impotent: they were told they had the tools to make the world a better place, but instead the world takes its toll on them. Beyond a haze of hype and bold claims lies a barren land of self-doubt and impostor syndrome. Although these ‘feels’ might be the Millennial norm, design culture reinforces them. In conferences we learn that “with great power comes great responsibility” but, when it comes to real-life clients, all they ask is to “make the logo bigger.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis book probes the disillusionment that permeates design. It tackles the deskilling effects provoked by digital semi-automation, the instances of ornamental politics fashioned to please the museum-educational complex, the nebulous promises of design schools. While reviving historical expressions of disenchantment, Silvio Lorusso examines present-day memes and social media rants. To depict this disheartening crisis, he crafts a new critical vocabulary for readers to build upon. What this exposé reveals is both worrying and refreshing: rather than producing a meaningful order, design might be just about inhabiting chaos.\u003cbr\u003e\u003cbr\u003eWhat was once a promising field rooted in problem-solving has become a problem in itself. The skill set of designers appears shaky and insubstantial – their expertise is received with indifference, their know-how is trivialised by online services, their work is compromised by a series of unruly external factors. If you see yourself as a designer without qualities; if you feel cheated, disappointed or betrayed by design, this book is for you.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e“Are you a bit depressed about design? This book might help you understand why. It may also make you laugh. With a lightness of touch, Silvio Lorusso provides an unflinching but well-reasoned discussion as to how design has become so ‘bigged up’ and what this actually means for its practitioners. After reading this book, design will never look the same to you.”\u003cbr\u003e\u003cbr\u003e– Guy Julier, author of \u003cem\u003eEconomies of Design\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“What happens once design is a smokescreen and can no longer claim to be a blueprint for change? This is the question Silvio Lorusso puts on the table. How did form, no matter how cool and disruptive, become so futile and tired? Read this with caution: we can no longer design ourselves out of this painful realisation.”\u003cbr\u003e\u003cbr\u003e– Geert Lovink, author of \u003cem\u003eStuck on the Platform\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e“The disillusion of design is the disillusion of the world. This book is an essential read, not only for specialists. Because design affects us all, and because understanding where design fails helps us understand where design succeeds.”\u003cbr\u003e\u003cbr\u003e– Emanuele Quinz, author of \u003cem\u003eStrange Design\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48127867650383,"sku":"PK0338","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202303861.jpg?v=1704185410"},{"product_id":"ian-callender-annie-dellaria-eds-provocations-on-media-architecture","title":"Ian Callender, Annie Dell'Aria (Eds.), Provocations on Media Architecture","description":"\u003cdiv data-mce-fragment=\"1\" class=\"product__content richtext\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMedia architecture, the field where media and public space meet, bring up urgent topics today:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eHow does media architecture distribute suspicion and trust?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eWhat is a collage of media architecture?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eHow is media architecture vectored?\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eHow can media architecture address privilege?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThese questions -or more broadly, conceptual provocations- aim to challenge the binary of techno-optimism and technological agoraphobia, offering a platform upon which to construct new, critically- and contextually rooted theories upon which media architecture might grab hold.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIntentionally open-ended and dialogical, \u003cem\u003eProvocations on Media Architecture\u003c\/em\u003e brings together twenty-one thought leaders across architecture, visual arts, design, curation, academia, and public policy to address these ideas and themes. Authors respond with images and brief texts, incorporating the perspective of their own creative and scholarly practice. Entries range from descriptions of relevant artworks and design projects to reflections spawned from first-person encounters with media architecture in situ to scholarly analyses to AI-assisted theory. These themselves transfigure into a set of provocations, supplanting the original questions which inspired their construction, through which to encourage further theory and practice. Across the diverse and at times contradictory arguments and methods employed, new constellations and connections emerge.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis edition is devised as an extension of the Media Architecture Biennale 2023.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48156371910991,"sku":"PK0364","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023058911.jpg?v=1705663027"},{"product_id":"marion-von-osten-in-the-making-in-the-desert-of-modernity-colonial-planning-and-after","title":"Marion von Osten, In the Making In the Desert of Modernity: Colonial Planning and After","description":"\u003cp\u003e\u003cem\u003eIn the Making: In the Desert of Modernity: Colonial Planning and After. A Research-Based Practice\u003c\/em\u003e is about the working method of the artist and exhibition maker Marion von Osten (1963-2020).\u003c\/p\u003e\n\u003cp\u003eThrough the genesis of one of her major exhibitions, \u003cem\u003eIn the Desert of Modernity: Colonial Planning and After,\u003c\/em\u003e and other related exhibitions, Marion von Osten recounts modes of research, forms of collaboration, research trips, and encounters. Was the book \u003cem\u003eColonialModern. Aesthetics of the Past, Rebellions for the Future\u003c\/em\u003e (ed. by Tom Avermaete, Serhat Karakayali, Marion von Osten) dedicated to the exhibition itself, which deals with the connection between architecture, urban planning, and colonialism, Marion von Osten's In the Making traces the conceptual and design settings of exhibition making and reveals connections in order to reconnect them where necessary.\u003c\/p\u003e\n\u003cp\u003eAlmost as if incidentally and yet quite centrally, In the Making establishes walking, talking, listening, meeting, relating as essential components of inquiry-not only in a postcolonial context, but especially there. Addressing spatial politics, power relations, and social struggles at the time of colonialism, liberation struggles, and decolonization in North Africa, In the Making welcomes unexpected encounters and opens pathways to parainstitutional and feminist exhibition making.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156481585487,"sku":"PK0519","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310731.jpg?v=1708079219"},{"product_id":"ana-vujanovic-und-livia-andrea-piazza-hg-a-live-gathering-performance-and-politics-in-contemporary-europe","title":"Ana Vujanović and Livia Andrea Piazza (Eds.), A live gathering: Performance and Politics in Contemporary Europe","description":"\u003cp\u003eThe main question we raise with this book is how performance can be political in present day European representative democracy, a system which no longer draws on the live gathering of people. Several leading European (mostly female) thinkers analyse artistic practices that have emerged alongside new social movements – such as Solidarity in Greece or Municipalism in Spain – investigating how theatre, dance and performance respond to the new political insights and experiments. It is a context wherein the previously well-known tactics and tools, such as participation, identity politics or spontaneous usage of public space don’t suffice. Thus we must build and learn a new vocabulary of politicality of performance that includes opaque words such as ‘innervation’, ‘preenactment’, ‘prefiguration’ or ‘recreation’.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156488958287,"sku":"PK0520","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310841.jpg?v=1708081374"},{"product_id":"bojana-cvejic-ana-vujanovic-ed-by-tkh-public-sphere-by-performance","title":"Bojana Cvejic \u0026 Ana Vujanovic (ed. by TkH), Public Sphere by Performance","description":"\u003cp\u003eThe book Public Sphere by Performance results from a two-year research project Performance and the Public that Ana Vujanović, Bojana Cvejić and Marta Popivoda carried out in 2011 and 2012, during the residency of TkH (Walking Theory) platform (Belgrade) at Les Laboratoires d’Aubervillier. The part of the research of Marta Popivoda gave rise to the documentary film Yugoslavia: How Ideology Moved Our Collective Body.\u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eb_books (in cooperation with co-publisher: Les Laboratoires d'Aubervilliers)\u003c\/p\u003e\n\u003cp\u003eThe point of departure for this research is the recurrent problem of the public: the eclipse of the public sphere throughout the twentieth century as a marker of the crisis of representative democracy. The theoretical and political perspectives of this transdisciplinary research stem from the discontinuous experiences  of participation in the public sphere in former socialist Yugoslavia and contemporary Western neoliberalism.The authors propose an analysis of and discussion about the public - and its discontents - through several models of mass, collective, and self-performances, such as social drama and social choreography. In numerous collaborations with artists, theoreticians, and activists in 2011, they have closely observed transversal social,  artistic, and cultural artifacts and  practices: movements, images,laws, habits, and discourses.\u003c\/p\u003e\n\u003cp\u003e\"There are few questions as politically pressing as that of  the public - who it is, what it desires, and perhaps more crucially, who wants to destroy it in the name of neoliberal privatisation and the “order”  imposed by the state’s own image of a ‘public’ mobilised against its own people. By addressing the question of the public through the prism of performance, Bojana Cvejić and Ana Vujanović acutely outline the past, present and future of the ‘public’ in an era when all of  its supports—the welfare state, a strong image of democracy, collective movements—have been marginalised or destroyed.\" Nina Power, senior  lecturer in philosophy at Roehampton University, London.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156795633999,"sku":"PK0521","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231540.jpg?v=1708689955"},{"product_id":"kerstin-honeit-fiona-mcgovern-hg-kerstin-honeit-voice-works-voice-strikes","title":"Kerstin Honeit\/ Fiona McGovern (Ed.), Kerstin Honeit. Voice Works Voice Strikes","description":"\u003cp\u003e\u003cem\u003eThe voice labours constantly. It is particularly a worker when it is silent and on strike.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAgainst the background of Kerstin Honeit's artistic practice, this publication examines the (film) voice from the aspect of labour. It discusses vocal connections to structural exclusions, as well as resistant and emancipatory gestures: the voice as a worker. From different perspectives and working practices, it illuminates forms of (translational) labour that are applied to the disembodied voice of cinema and its mediated extensions. In doing so, the contributors devote themselves to the hidden processes of a ‘voice normalisation’ as it is practised in commercial film dubbing in a racialising or classist manner. Equally, this publication is interested in the queering potential that is inherent in the disembodied voice too. The production processes involved in creating coherences between bodies and voices are made visible here; as fluid and in relation to structures and politics, therefore condense ways of seeing and hearing into ambiguous, multiple resonances.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eVia an augmented reality app, excerpts of Kerstin Honeit's video work become accessible on film.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156856418639,"sku":"PK0523","price":18.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202314301.jpg?v=1708690288"},{"product_id":"burcu-dogramaci-et-al-eccentric-80s-tabea-blumenschein-hilka-nordhausen-rabe-perplexum-and-contemporary-accomplices","title":"Burcu Dogramaci, et al., Eccentric 80s: Tabea Blumenschein, Hilka Nordhausen, Rabe Perplexum and Contemporary Accomplices","description":"\u003cp\u003eTabea Blumenschein (1952–2020), Hilka Nordhausen(1949–1993), and Rabe perplexum (1956–1996) were eccentric artists of the eighties – they deviated from norms and operated outside of the centre in subcultural milieus. . They worked in friendly constellations in the cities of Berlin, Hamburg, and Munich. Blumenschein, Nordhausen, and perplexum represented images of gender and identity that weren’t recognized at the time and lived their sexual orientations in a non-conformist manner. The artistic work of the eccentrics was formulated in performances, readings, films, concerts, or murals – in collaborative and often ephemeral forms. For the first time, they are now brought together in one book and discussed contextually.\u003c\/p\u003e\n\u003cp\u003eTheir lives and works are activated by contemporary artists Ergül Cengiz(*1975) (\u003cem\u003e3 Hamburger Frauen\u003c\/em\u003e), Philipp Gufler (*1989), and Angela Stiegler(*1987) in a series of images and texts. Art theoretical and philosophical texts as well as voices of contemporaries provide insights into the diverse scenes of the eighties and reflect them for today.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156895478095,"sku":"PK0524","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310781.jpg?v=1708080471"},{"product_id":"omar-kasmani-et-al-eds-nothing-personal-essays-on-affect-gender-and-queerness","title":"Omar Kasmani, et al., (Eds.) Nothing Personal?! Essays on Affect, Gender and Queerness","description":"\u003cp\u003ePersonal, but not a personal thing: affect is at the heart of some of the most pressing issues of social and political life. If how and what we feel indeed shape and form the ways we live and vice versa, how does his dynamic relate to the experience of gender and queerness? With insights from cultural studies, the social sciences as well as artistic practice, the essays in this book delve into the manifold and messy dimensions of public feeling and emotion.\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156916253007,"sku":"PK0525","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310671.jpg?v=1708079658"},{"product_id":"simon-sheikh-ed-capital-it-fails-us-now","title":"Simon Sheikh (Ed.) Capital (It fails us now)","description":"\u003cp\u003eWhat does it mean to live under certain historical conditions, such as the current hegemony of the capitalist mode of production? What does it mean in terms of economic and social relations, in terms of political space and imagination? How does capitalism affect our nervous systems, subjectivities and desires? These are some of the questions we have tried to pose, if not answer, in the exhibitions – held between Oct 7 and Nov 6, 2005 at UKS in Oslo, Norway and from Jan 7 to Feb 19, 2006, at Kunstihoone, Estonia – and in the present book project, Capital (It Fails Us Now).\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eIn these pages a number of essays and projects take their point of departure in these specific models of (re)production and (re)distribution, and look at how production is changing in the Western countries, mainly from industrial production to immaterial labor, and in the East from state capitalism to a deregulated (post)industrialism with a new commodification and codification of the labor force, and thus of all social as well as economical relations. What are “new” economies, and what kinds of technologies of the self are they producing, and indeed, enforcing? Thus, in these pages you will find efforts to review the situation, asking what is to be done in this predicament of expansive global capitalism, corporatization of culture, the specularization of politics, and the marginalization, even criminalization, of the critical left.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDiscussions range from the spectral form of value, (self)precarization, deregulation and the privatization of the welfare state to the development of alternative economies and the establishment of various modes of critique and resistance, cartography and historiography, inclination and inquiry, and the politicization of subject positions.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156931096911,"sku":"PK0526","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231550.jpg?v=1708447061"},{"product_id":"tim-stuttgen-in-a-qu-a-re-time-and-place-post-slavery-temporalities-blaxploitation-and-sun-ra-s-afrofuturism-between-intersectionality-and-heterogeneity","title":"Tim Stüttgen, IN A QU*A*RE TIME AND PLACE: Post-Slavery Temporalities, Blaxploitation, and Sun Ra’s Afrofuturism between Intersectionality and Heterogeneity","description":"\u003cp\u003eIn this book Tim Stüttgen considers the paradigm of (post-)slavery as an important epistemological break within predominantely white Gender and Queer Studies, as well as within critical Film and Cultural Studies. Departing from what E. Patrick Johnson has proposed as a specifically intersectional »quAre«, instead of an »unmarked white queer perspective«, this book contrasts Deleuze’s cinema theory with Frantz Fanon, queer theories of color, the history of the African diaspora and utopian quAre futurisms to establish notions of a black locality, mobility and temporality in what Stüttgen calls the first emancipatory black cinema: Blaxploitation. Digging deeper in the imagery and temporalities of Blaxploitation film, his analysis deals with the sexualization of racism and mass media imagery of armed black liberation struggles, and shows the development of more and more complex spaces, main characters and representational constellations, including black revolutionary women (with guns) and also queer subtexts.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSpecial issue of SUM magazine, in accordance with the publishing house of The Royal Danish Academy of Fine Arts, Schools of Visual Art, Copenhagen \u003cbr data-mce-fragment=\"1\"\u003epublished by b_books, berlin and autonomedia, New York  .\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFollowing the analysis of a specifically black movement-image, the book engages in a comprehensive intersectional reading of John Coney’s legendary 1974 Sun Ra film Space is the Place, crystallizing the concept of a »black time-image« that interconnects formal aesthetic concepts to afro-futurist queer utopias. By producing these sorts of »quAre assemblages« Stüttgen ultimately aims at an epistemological renewal of the dominant discourses on race, class and gender, that helps to at least temporarily suspend reifying identity patterns at stake, and rethink them critically based on the  principles of intersectionality and heterogeneity.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156949938511,"sku":"PK0527","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310901.jpg?v=1708082294"},{"product_id":"anselm-franke-und-kerstin-stakemeier-eds-illiberal-arts","title":"Anselm Franke, Kerstin Stakemeier (Eds.), Illiberal arts","description":"\u003cp\u003eThe liberal capitalist world order that prevailed after 1989 is today in a stage of advanced disintegration. The collapse of this order exposes the illiberal core of its freedoms and forms of ownership shaped by the market: the violent unfreedoms of the dispossessed as well as the willingness of the propertied to use violence. Art, too, reveals itself as the venue of these forces and their exclusions: Through the downfall of liberality, the modern institution of “veranstaltlichte Kunst” (“institutionalized art”, Arnold Hauser) and its social legitimacy are also increasingly called into question.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe liberal capitalist world order that prevailed after 1989 is today in a stage of advanced disintegration. The collapse of this order exposes the illiberal core of its freedoms and forms of ownership shaped by the market: the violent unfreedoms of the dispossessed as well as the willingness of the propertied to use violence. Art, too, reveals itself as the venue of these forces and their exclusions: Through the downfall of liberality, the modern institution of “veranstaltlichte Kunst” (“institutionalized art”, Arnold Hauser) and its social legitimacy are also increasingly called into question.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIlliberal Arts is a search for forms concerning an artistic “Lebensarbeit” (“life’s work”, Lu Märten, publicist and art critic, 1879–1970) initiated with international artists, poets and authors. In the cracks of the decaying forms of market accumulation, anti-identitarian, communal horizons burst open, as do collective forms of perception and political spontaneities. The project subjects these to a practical test. For Lu Märten, “a person’s whole life’s work” was considered artistic; what was artistic didn’t always have to become art. Perhaps what became art doesn’t necessarily have to remain art either.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith contributions by Juliana Spahr; Rosalind C. Morris; Aristilde Paz Justine Kirby;Övül Ö. Durmuşoğlu; Ana Teixeira Pinto; Simone White; Frank Engster, Lisa Jechske and MYSTI, Jenny Nachtigall, Fumi Okiji,Larne Abse Gogarty, arán Finlayson, Danny Hayward, Em Hedditch, Marina Vishmidt, Danny Hayward a.o. \u003c\/p\u003e\n\u003c\/div\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48156989718863,"sku":"PK0528","price":30.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310961.jpg?v=1708083797"},{"product_id":"ulrike-mueller-work-the-room-a-handbook-of-performance-strategies","title":"Ulrike Mueller, Work the Room: a handbook of performance strategies","description":"\u003cp\u003eWork the Room - A handbook of performance strategies, edited by Ulrike Mueller\u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48157015703887,"sku":"PK0529","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231545.jpg?v=1708447126"},{"product_id":"juli-carson-the-hermeneutic-impulse","title":"Juli Carson, The Hermeneutic Impulse","description":"\u003cp\u003eHow to do hermeneutics after deconstruction with Sharon Hayes, Mary Kelly, Omar Mismar and Kerry Tribe. - A revived form of hermeneutic thought - one negotiating the horizon line between historical events and contemporary interpretation - beats at the heart of today's critical aesthetics. In both artistic practice and theoretical writing, historical interpretation is embodied by two impulses - one to commune, the other to disrupt - both of which contingently hinge an untethered past onto our present. To say tha the past is \"untethered\" is to refute history's universal meaning in advance of its site-specific \"grounding\", in the hands of artists and theorists, within any given moment or discursive context. In so doing, the act of \"hinging\" historical events onto the present performatively manifests a critical, allegorical commentary of the political world within the space of art. \u003c\/p\u003e","brand":"b_books","offers":[{"title":"Default Title","offer_id":48157052404047,"sku":"PK0530","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202310611.jpg?v=1719831130"},{"product_id":"copy-of-doris-boerman-plugs-pores-walls-and-lures-self-design-as-sculpture","title":"Doris Boerman, Plugs, Pores, Walls and Lures - Self-Design as Sculpture","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWith the series of sculptures titled \u003cem\u003e‘Plugs, Pores, Walls and Lures’,\u003c\/em\u003e visual artist Doris Boerman responds to the practice of self-design as a form of mass occupation, common identity and pseudo individuality in popular culture. With hair, earrings, scrunchies, wall plugs and gallery walls, the series talks about the feminine as a commercially constructed value, as well as the normative female body and its role in (art) history.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003eAlongside the series of sculptures Doris Boerman presents three accompanying texts especially written for this publication: Fashion researcher Femke de Vries wrote an essay about self-design as a mass cultural practice, celebrities as designed surfaces and strategies of disclosure to restore trust in this ‘unreal’ system. The poem by lesbian artist, LGBTQIA+ activist and poet Joëlle Sambi compares the black woman’s skull to a battlefield on which normative and repressive standards are a constant battle to fight against whilst remaining proud and strong. Finally, the essay by visual artist and writer Timmy van Zoelen stages a dance around Doris’ sculptures by way of the curvature of her spinal column; taking the backbone for a spin in a series of playful references. These contributions respond to the series of sculptures with a wide range of topics and create a relevant network for further deliberation.\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48200169095503,"sku":"PK0339","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023058111.jpg?v=1705514053"},{"product_id":"simona-bortis-schultz-to-hold-your-heart-in-your-teeth-women-s-work-the-visual-language-of-the-romanian-blouse","title":"Simona Bortis-Schultz, To Hold Your Heart in Your Teeth, Women’s Work The Visual Language of the Romanian Blouse","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eTo Hold Your Heart In Your Teeth\u003c\/em\u003e is a Romanian proverb that means to brave forward despite fear. Made by generations of women, the folk garment of the Romanian blouse secured its language through times of fierce changes. This book is a cultural-historical biography of the blouse, from Neolithic beginnings in northeastern Romania and western Ukraine, through the period of folk revival, the communist era, and the post-communist immigration out of the region. Weaving personal narrative with this historical research, Simona Bortiș-Schultz, author and designer of this book, is a New York-based child of this immigration. \u003cem\u003eTo Hold Your Heart In Your Teeth\u003c\/em\u003e is an homage as it stands in solidarity with generations of resilient women, writing out the design qualities of this feminine fortitude, and the charm of the garment they made to survive.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Set Margins'","offers":[{"title":"Default Title","offer_id":48200185348431,"sku":"PK0638","price":23.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023054311.jpg?v=1705514608"},{"product_id":"you-gotta-keep-your","title":"Dal Chodha, You gotta keep your head straight about clothes","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'As a student at Central Saint Martins in the early aughts, spending money on fashion books was something I couldn’t—and didn’t think—to do. That was until 2010, when I spent an afternoon in Paris with the designer Christophe Lemaire who introduced me to \u003cem\u003eCheap Chic\u003c\/em\u003e.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"comp-lbuwu0ut MazNVa rYiAuL\" id=\"comp-lbuwu0ut\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"comp-lbexl3js MazNVa rYiAuL\" id=\"comp-lbexl3js\"\u003e\n\u003cdiv data-testid=\"linkElement\" class=\"j7pOnl\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003cp\u003e\u003cspan\u003ePart fan letter, part essay, \u003c\/span\u003e\u003cem\u003eYou gotta keep your head straight about clothes\u003c\/em\u003e\u003cspan\u003e is an appreciation of the first consumer guidebook to thrift store shopping, published in New York in 1975. This is my tribute to its authors Carol Troy and Caterine Milinaire.'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eDal Chodha is a writer and editor based in London who also teaches at Central Saint Martins. His first book\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eSHOW NOTES\u003c\/em\u003e\u003cspan\u003e—an original hybrid of journalism, poetry and provocation—was released in 2020.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--\ntd {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}\n--\u003e\u003c\/style\u003e","brand":"Tenderbooks","offers":[{"title":"Default Title","offer_id":48200208744783,"sku":"PK0613","price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_2023056711.jpg?v=1705514914"},{"product_id":"corner-football-society-vol-1","title":"CORNER: FOOTBALL+SOCIETY VOL.1","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eCORNER football + society\u003c\/em\u003e is a periodical publication that proposes a crossdisciplinary approach, taking football and its complex contemporary and historical context as a starting point. This material foregrounds less (re)presented subjects and follows its evolution and social determinations. Aiming to intersect the culture of sport with various fields of knowledge such as anthropology, art, contemporary dance, architecture and economics, it follows less discussed aspects such as horizontal organisation, representation of minorities, gender power relations, subcultures and the relationship between the individual, group and society - amongst other topics. Under the current conditions, where both sport and art are being confiscated by the media and transformed into commodities, \u003cem\u003eCORNER\u003c\/em\u003e reclaims the democratic and emancipatory aspects of football, alongside a critical analysis of its functioning and reception modes.\u003c\/p\u003e","brand":"PUNCH Press","offers":[{"title":"Default Title","offer_id":48247193207119,"sku":"PK0493","price":19.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_20231926.jpg?v=1710764056"},{"product_id":"george-papam-david-berge-eds-islands-after-tourism-escaping-the-monocultures-of-leisure","title":"George Papam, David Bergé (eds.), Islands After Tourism: Escaping the Monocultures of Leisure","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTourism does more than transforming spaces and forcing emotions: its geographies also conceal a persisting power that captures the imagination. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn their operational sturdiness, tourismscapes appear intractable and inert, making their alternative renderings almost unthinkable. It feels uncanny to picture islands and their coasts freed from programs of leisure. But in recent years, the exhaustion of people and landscapes has brought forth a renewed imperative to think outside this ubiquitous extractive industry. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThrough essays, pieces of fiction, and visual references, this book discusses both the difficulty and the necessity of disrupting the monocultural imaginations of tourism. To escape the devouring vortex of its sticky nature and messianic promises, the cultural and political work necessary is not only this of negation and resistance, but also that of bold re-conceptualizations and re-imaginings.\u003c\/span\u003e\u003c\/p\u003e","brand":"kyklàda.press","offers":[{"title":"Default Title","offer_id":48247317987663,"sku":"PK0508","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202312511.jpg?v=1708339843"},{"product_id":"sofia-grigoriadou-eliana-otta-david-berge-eds-urban-lament-collective-expressions-of-pain-rage-and-affection","title":"Sofia Grigoriadou, Eliana Otta, David Bergé (eds.), Urban Lament: Collective Expressions of Pain, Rage, and Affection","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLamentation practices can empower the potentiality to defy patriarchal orders ruling everyday life. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlways a collective process, lamentation inscribes loss and vulnerability by tending bridges towards the world of the dead and the more-than-human. Gestures such as singing or breathing, gathering, and performances that exceed rationality can inspire a renewed approach to life and death, rural and urban. After all, amidst ongoing processes of extinction, how to mourn a queer activist, a Roma father, a burnt forest, an exiled body, and a ship sunken in the Mediterranean? How to experience loss not as something individual, but within an expanded continuum of pain? How to explore emotions beyond the private sphere? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThrough case studies and narrations, in different times and geographies surrounding the Aegean Sea, this book amplifies the echoes of collective tears to invigorate contemporary mourning practices that claim public space by grief, rage, and affect.\u003c\/span\u003e\u003c\/p\u003e","brand":"kyklàda.press","offers":[{"title":"Default Title","offer_id":48247319331151,"sku":"PK0510","price":14.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0774\/3068\/6031\/files\/18_09_202312551.jpg?v=1708339364"}],"url":"https:\/\/publicknowledgebooks.com\/collections\/theory.oembed?page=11","provider":"Public Knowledge","version":"1.0","type":"link"}