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jumping out of the building (Barnett and Reynolds 2009, 81). In spite of this number, there was surprisingly little news coverage of this tragedy. Richard Drew’s image appeared only briefly  –​in the New York Times and other publications –​before disappearing. Those newspapers that had printed the picture ‘were forced to defend charges that they exploited a man’s death and stripped him of his dignity in the last moments of life by publishing this photo’ (81). To this day, images of the falling bodies cannot easily be shown and seen in the United States. In Germany and

in Image operations
William Roscoe, civic myths and the institutionalisation of urban culture

2 Lorenzo in Liverpool: William Roscoe, civic myths and the institutionalisation of urban culture Cultural institutions reflected both personal interests and shared visions of the ideal civic life. Civic cultural leaders used languages of progress and civic humanism to mobilise support for their specific cultural agendas. Like the leaders of the ancient polis, cultural elites promoted histories and myths about the foundation of their own towns to promote new cultural formations and underpin their associated social bonds.1 Liverpool’s early nineteenth

in High culture and tall chimneys
Coline Serreau and intertextuality

nature (return to nature) is also reminiscent of the ecological concerns found in France in the 1970s. Many hippies did leave their urban life to live in the countryside in micro-communities, rejecting towns and progress and subsisting on the fruit of their rural work and often raising goats. They criticised urban pollution and proposed another way of life which rejected the use of chemical energy and encouraged vegetarianism. The opening sequence of La Belle Verte combines elements of religious iconography of the early Christians

in Coline Serreau

11 Appropriating ­c yberspace While switching current modes of transportation may help suburbanites to preserve what has become a well established way of urban life in the modern world, other technological developments of a much newer kind are already changing the way we live, extending the human self in hitherto undreamt of and unpredictable directions. Just as the private automobile changed the perception and range of personal space in the mechanical age, so have the Internet and the explosion in computer power – now available to every man, woman and child on

in The extended self

, therefore, is to speak about the freedom of persons of a particular nationality or ethnic or religious identity whose life is subsumed within a national territory ruled by a sovereign power.31 Responding to Said, we agree that this is an issue, and locate it, in part, in the fact that the terms ‘human rights’ and ‘human’ are under-defined and recondite. Before one can even begin to consider what ‘human rights’ means, it is necessary to clarify what is meant by human. Joseph Slaughter notes: From its inception, human rights law has relied on both philosophical inquiry

in Art and human rights

over time with ideas derived from biological taxonomies, generally expressed in the form of organic analogies of one kind or another. In his brief but illuminating history of biological analogies in architecture, Peter Collins16 traces their source back to the first half of the eighteenth century and the publication of the System of Nature by Carl Von Linnaeus17 – the very first systematic attempt to classify different members of the vegetable and animal kingdoms. Believing, like most people of religious conviction at that time, that all forms of life had a divine

in The extended self

A mere artisan? JOHN TOMS inhabited a different world from the people who produced the ecclesiological discourse on stained glass. It is doubtful whether he set out to gain artistic credibility, at least in the same sense that William Warrington did; nor did he represent himself as a pious religious artist producing Christian art. In fact, more than anyone, Toms resembled Winston’s worst nightmare: the

in Stained Glass and the Victorian Gothic Revival

corporate bureaucracy, it more than made up for in governmental bureaucracy, and, one could argue, artists in Eastern Europe also utilised body art as a means of countering passivity and apathy in the face of it. In fact, contemporary Russian artist Petr Pavlensky, discussed at the end of this chapter, has explicitly referenced this apathy as a motivating factor for his visceral performances. During the communist period, active engagement with the cultural sphere offered a sense of empowerment that was largely unavailable in other areas of life. Pavlína Morganová

in Performance art in Eastern Europe since 1960
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Lives and Loves of Images. Chicago: University of Chicago Press. [Original lecture 1996.] Mitchell, William J. Thomas. 2010. Cloning Terror: The War of Images, 9/​11 to the Present. Chicago: University of Chicago Press. Mondzain, Marie-​José. 2002. L’image peut-​elle tuer? Paris: Bayard. Morgan, David. 2012. The Embodied Eye:  Religious Visual Culture and the Social Life of Feeling. Berkeley: University of California Press.

in Image operations

from rational control and constraint, was reiterated and expanded upon one year later in the manifesto Destruction of Syntax. The intoxication of intense life, he wrote, would stir the lyric voice of the individual who will begin by brutally destroying the syntax of his speech. He wastes no time in building sentences. Punctuation and the right adjectives will mean nothing to him. He will despise subtleties and nuances of language. Breathlessly he will assault your nerves with visual, auditory, olfactory sensations, just as they come to him … Fistfuls of essential

in Back to the Futurists