. Stepping back somewhat, I now propose to offer some ecocritical political orientation, starting with some of the standard ‘green’ political positions on which environmental humanities stands or, at its most extreme edges, deconstructs or makes newly radical. Andrew Dobson, in his useful introduction to Green Political Thought , defines ‘political ecology’ (a term used purposefully by T. J. Demos in Decolonizing Nature , for instance) as a viewpoint that holds that ‘a sustainable and fulfilling existence presupposes radical changes in our relationship with the non
This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
international relations is formed. The first half of this chapter introduces those metaphors, while the second addresses the media representations and regimes that visualise those metaphors and asks whether the medial can feed back and shape political thought. Take, for example, the sovereign body floating in a sea of anarchy. For successive thinkers the state or sovereign is understood as a body in ungoverned space, managing its relations with other bodies. Thucydides wrote, ‘among neighbours antagonism is ever a condition of independence’ (quoted in Lijphart 1974, 44). In
central tasks of political thought is to struggle over concepts, to clarify or transform their meaning. Entrepreneurship serves as the hinge between the forms of the multitude's cooperation in social production and its assembly in political terms (Hardt and Negri 2017 : XVIII–XIX). Negri and Hardt subvert the neoliberal concept of entrepreneurship to talk about the entrepreneurial productivity of the multitude that is at the core of the common. What's interesting here, though, are
characteristics, or at least inferior ones, to those who are different in whatever ways we deem to be important. As Eve Kosofsky Sedgwick points out: ‘It is astonishing how few respectable conceptual tools we have for dealing with this self evident fact [of difference]. A tiny number of inconceivably coarse axes of categorization have been painstakingly inscribed in current critical and political thought: gender, race, class
Policy Tool’ , History of Political Thought , 33 ( 2012 ), 374–7 . 72 Gesta sanctorum patrum Fontanellensis coenobii , Bk. 12, c. 2 (pp. 86–7); MGH Epp ., IV, nos. 7, 9, 82 (pp. 32, 35, 125); Allott, Alcuin of York , nos. 10, 31 39. For discussion of
– not in the welcome sense, advocated by green thinkers, of reminding us of how deeply “culture” is embedded in and part of “nature”, but as emergent, interference phenomena. As a result of scale effects, what is self-evident and rational at one scale may will be destructive or unjust at another.’ 59 This sentiment speaks directly to a fundamental principle in green political thought, namely the acceptance of pervasive and complex interconnectedness in any environment or in any phenomenon, even if, as Clark registers, the effects are counter