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and cultural context. Architects are meant to focus on the unique appropriateness of a single design, carefully tailored to a situation. Architects are meant to consider the ‘softer’ side of shelter, looking at the quality of the space and the sensitivity of the aesthetics. Architects are trained to think about homes as deeply contextual, rooted in iterative processes of design. The result may indeed by utopian and unworkable, but it is very different from the work of innovators and
, film, graphic materials, and museums. Harnessing diverse methodological approaches to the variety of those visual formats ( de Laat and Gorin, 2016 ; Kurasawa, 2015 ; Lenette, 2016 ), each of the contributions asks how the specific logics, demands, languages, and aesthetics of those media framed historical ways of presenting, seeing, and engaging with suffering. One important finding emerging from those inquiries is that each of those visual media – including the individuals behind them – shaped
pictures to produce an immersive spectacle, relying on the cinematic realism of non-fiction movies to increase the ‘perceptual experience’ and the ‘aesthetics of astonishment’ of the viewers ( Crawford-Holland, 2018 ). Back in the 1920s, ‘cinema … “virtually” extended human perceptions to events and locations beyond their physical and temporal bounds’ ( Uricchio, 1997 : 119). Humanitarian cinema thus participated in transnational campaigns aiming to mobilize and sensitize national audiences. More specifically, these movies also advocated on behalf of distant
the World , for instance, promised ‘photographs of the family and its home’ that provided an ‘objective look into each family’s environment. There are no concessions to aesthetics or technique there. The photographs reveal the hard facts of life, and, in doing so, help us grasp the increasing depth of the chasm separating peoples and nations’ ( Tremblay, 1988 : preface). The authors of the psychopedagogical guide warned that the exposure of children to images of the Global South was to be done in a relation of trust. The pupils’ sense of honesty and fairness
7 Topographies of terror: photography and the post-Celtic Tiger landscape Justin Carville The title of this chapter is a sort of homage to Luke Gibbons’s examination of eighteenth-century landscape aesthetics and Romanticism in Ireland (Gibbons 1996). In the essay from which the title is borrowed, and in several other subsequent publications, Gibbons has examined those moments when the collision of cultures brought about by the violence of colonialism has stimulated the complex intersection of aesthetics and politics in philosophical thought, literature and the
: Oxford University Press, 1985. 43 Chris Darke, ‘Desert of the Disappeared’. 44 Martin-Jones, ‘Archival Landscapes and a Non-Anthropocentric “Universe Memory”’, 707. 45 For a summary of this context, see Kaitlin M. Murphy, ‘Remembering in Ruins: Touching, Seeing and Feeling the Past in Nostalgia De La Luz/Nostalgia for the Light ([2010] 2011).’ Studies in Spanish & Latin American Cinemas 13, no. 3 (2016): 265–81. 46 Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. London: Continuum, 2004: 63. 47 Ruiz
(1873–1958) and Bertrand Russell (1872–1970) were both instrumental in the rise of analytical philosophy and its focus on language, mathematics and logic. Moore’s cultivation of simple truths, aesthetics and personal experience and Russell’s search for an unpolluted rational foundation of philosophical truth could lead to withdrawal from politics. Yet not 206 Into the twentieth century everyone withdrew: Leonard Woolf (1880–1969), one among several ‘bloomsberries’ captivated by Moore, took a strong interest in politics and became a central internationalist voice
practices. The bulk of the heroic anti-regime aesthetics described in the previous chapter emerged during the civil protest stage, and the early days of the armed resistance, but as the war intensified, the images my friends shared were replaced by pictures of the dead. I suggest a repeated circulation of digital martyrdom posters contributed to the emergence of a “rebel populist martyr,” defined by having
Engineering Problems . Strategic engineering study, Special Report #62. Ann Arbor : US Army Corp of Engineers . Nicholson , M. ( 1958 , reprinted 1997) Mountain Gloom and Mountain Glory: The Development of the Aesthetics of the Infinite . Seattle, WA : University of Washington Press . Nielsen , H. and J. Martin
degree of protection. The city is a fluid entity, often viewed through the lens of networks that go some way into ordering life.3 Beyond this, the aesthetics of a city can be used to develop a national identity, which also brings about exclusion. Decisions over infrastructural and development projects are taken for political reasons, driven by domestic and regional concerns, yet impacting on the lives 126 126 Houses built on sand of citizens and non-citizens within states and across space. This chapter explores the role of urban environments as sites of sovereign