Looking back over the twentieth century, Hartoonian discusses the work of three major architects: Peter Eisenman, Frank Gehry and Bernard Tschumi, in reference to their theoretical positions and historicizes present architecture in the context of the ongoing secularization of the myths surrounding the traditions of nineteenth century architecture in general, and, in particular, Gottfried Semper's discourse on the tectonic. Providing a valuable contribution to the current debates surrounding architectural history and theory, this passionately written book makes valuable reading for any architect.

From the pencil to the puppet to the drone—the humanities and the social sciences continue to ride a wave of interest in material culture and the world of things. How should we understand the force and figure of that wave as it shapes different disciplines? Other Things explores this question by considering a wide assortment of objects—from beach glass to cell phones, sneakers to skyscrapers—that have fascinated a range of writers and artists, including Virginia Woolf, Man Ray, Spike Lee, and Don DeLillo. The book ranges across the literary, visual, and plastic arts to depict the curious lives of things. Beginning with Achilles’s Shield, then tracking the object/thing distinction as it appears in the work of Martin Heidegger and Jacques Lacan, Bill Brown ultimately focuses on the thingness disclosed by specific literary and artistic works. Combining history and literature, criticism and theory, Other Things provides a new way of understanding the inanimate object world and the place of the human within it, encouraging us to think anew about what we mean by materiality itself.

Fragility is a condition that inhabits the foundations of social life. It remains mostly unnoticed until something breaks and dislocates the sense of completion. In such moments of rupture, the social world reveals the stuff of which it is made and how it actually works; it opens itself to question. Based on this claim, this book reconsiders the place of the notions of crisis and critique as fundamental means to grasp the fragile condition of the social and challenges the normalization and dissolution of these ‘concepts’ in contemporary social theory. It draws on fundamental insights from Hegel, Marx, and Adorno as to recover the importance of the critique of concepts for the critique of society, and engages in a series of studies on the work of Habermas, Koselleck, Arendt, and Foucault as to consider anew the relationship of crisis and critique as immanent to the political and economic forms of modernity. Moving from crisis to critique and from critique to crisis, the book shows that fragility is a price to be paid for accepting the relational constitution of the social world as a human domain without secure foundations, but also for wishing to break free from all attempts at giving closure to social life as an identity without question. This book will engage students of sociology, political theory and social philosophy alike.

Collection of essays originally presented as papers at a conference at the Scottish National Gallery of Modern Art, Edinburgh, in September of 1996.

Including contributions from sixty international authors, this book examines emergency responses to environmental dangers such as chemical fires, hazardous material and oil spills, nuclear reactor accidents, and earthquakes, and crises in the environment, global public service, and politics. It covers a wide range of international issues and topics, using various analyses, including critical, descriptive, empirical, quantitative, and normative methods. The book discusses approaches to natural disasters, resolutions to cultural, religious, and political tensions, terrorism and the potential use of biological, chemical, and nuclear weapons, the role of crisis public relations, and more.

The seventeenth century witnesses the demise of two core doctrines in the theory of perception: naïve realism about color, sound, and other sensible qualities and the empirical theory, drawn from Alhacen and Roger Bacon, which underwrote it. This created a problem for seventeenth century philosophers: how is that we use qualities such as color, feel, and sound to locate objects in the world, even though these qualities are not real? Ejecting such sensible qualities from the mind-independent world at once makes for a cleaner ontology, since bodies can now be understood in purely geometrical terms, and spawns a variety of fascinating complications for the philosophy of perception. If sensible qualities are not part of the mind-independent world, just what are they, and what role, if any, do they play in our cognitive economy? We seemingly have to use color to visually experience objects. Do we do so by inferring size, shape, and motion from color? Or is it a purely automatic operation, accomplished by divine decree? This volume traces the debate over perceptual experience in early modern France, covering such figures as Antoine Arnauld, Robert Desgabets, and Pierre-Sylvain Régis alongside their better-known countrymen René Descartes and Nicolas Malebranche.

This myth shattering book reveals the methods Nouriel Roubini used to foretell the current crisis before other economists saw it coming and shows how those methods can help us make sense of the present and prepare for the future. Renowned economist Nouriel Roubini electrified his profession and the larger financial community by predicting the current crisis well in advance of anyone else. Unlike most in his profession who treat economic disasters as freakish once-in-­a-lifetime events without clear cause, Roubini, after decades of careful research around the world, realized that they were both probable and predictable. Armed with an unconventional blend of historical analysis and global economics, Roubini has forced politicians, policy makers, investors, and market watchers to face a long-neglected truth: financial systems are inherently fragile and prone to collapse. Drawing on the parallels from many countries and centuries, Nouriel Roubini and Stephen Mihm, a professor of economic history and a New York Times Magazine writer, show that financial cataclysms are as old and as ubiquitous as capitalism itself. The last two decades alone have witnessed comparable crises in countries as diverse as Mexico, Thailand, Brazil, Pakistan, and Argentina. All of these crises-not to mention the more sweeping cataclysms such as the Great Depression-have much in common with the current downturn. Bringing lessons of earlier episodes to bear on our present predicament, Roubini and Mihm show how we can recognize and grapple with the inherent instability of the global financial system, understand its pressure points, learn from previous episodes of "irrational exuberance," pinpoint the course of global contagion, and plan for our immediate future. Perhaps most important, the authors-considering theories, statistics, and mathematical models with the skepticism that recent history warrants—explain how the world's economy can get out of the mess we're in, and stay out. In Roubini's shadow, economists and investors are increasingly realizing that they can no longer afford to consider crises the black swans of financial history. A vital and timeless book, Crisis Economics proves calamities to be not only predictable but also preventable and, with the right medicine, curable.

“There they rest, inert, impertinent, in gallery space—those book forms either imitated or mutilated, replicas of reading matter or its vestiges. Strange, after its long and robust career, for the book to take early retirement in a museum, not as rare manuscript but as functionless sculpture. Readymade or constructed, such book shapes are canceled as text when deposited as gallery objects, shut off from their normal reading when not, in some yet more drastic way, dismembered or reassembled.” So begins Bookwork, which follows our passion for books to its logical extreme in artists who employ found or simulated books as a sculptural medium. Investigating the conceptual labor behind this proliferating international art practice, Garrett Stewart looks at hundreds of book-like objects, alone or as part of gallery installations, in this original account of works that force attention upon a book’s material identity and cultural resonance. Less an inquiry into the artist’s book than an exploration of the book form’s contemporary objecthood, Stewart’s interdisciplinary approach traces the lineage of these aggressive artifacts from the 1919 Unhappy Readymade of Marcel Duchamp down to the current crisis of paper-based media in the digital era. Bookwork surveys and illustrates a stunning variety of appropriated and fabricated books alike, ranging from hacksawed discards to the giant lead folios of Anselm Kiefer. The unreadable books Stewart engages with in this timely study are found, again and again, to generate graphic metaphors for the textual experience they preclude, becoming in this sense legible after all.

Building on its origins at a seminar in Oslo organized by two of the editors, this book combines classic texts of Nordic ecophilosophy and the original contributions of those influenced by this tradition to present the view that critical realism is indeed a worthy intellectual tradition to carry forward and further develop the work of the founders of Nordic ecophilosophy. It was clear at the seminar that there was a promising convergence of interests and themes in the two approaches; while at the same time, within the Nordic ecophilosophical tradition, there was appreciation of the capacity of critical realism, with its provision of a robust philosophical ontology and generation of totalizing immanent critiques of Western philosophy, to provide an expansive and secure home for the development of ecophilosophical work generally. If there is a single overarching theme of critical realist philosophy, it surely must be that of the unity of theory and practice, which Bhaskar, following Hegel, has also called "seriousness". This makes the applicability, relevance and actionability of critical realism key considerations for critical realists. There can be no doubt that this concern was shared fully by the Nordic ecophilosophers; and this quality of "seriousness" is a striking feature of the Nordic contributions presented in this book.

A dazzling book about memory and extinction from the author of Atlas of Remote Islands A Publishers Weekly Best Book of the Year A Financial Times Best Book of the Year Winner of the Warwick Prize Winner of the Helen & Kurt Wolff Translator's Prize Longlisted for the International Booker Prize Each disparate object described in this book—a Caspar David Friedrich painting, a species of tiger, a villa in Rome, a Greek love poem, an island in the Pacific—shares a common fate: it no longer exists, except as the dead end of a paper trail. Recalling the works of W. G. Sebald, Bruce Chatwin, or Rebecca Solnit, An Inventory of Losses is a beautiful evocation of twelve specific treasures that have been lost to the world forever, and, taken as a whole, opens mesmerizing new vistas of how we can think about extinction and loss. With meticulous research and a vivid awareness of why we should care about these losses, Judith Schalansky, the acclaimed author of Atlas of Remote Islands, lets these objects speak for themselves: she ventriloquizes the tone of other sources, burrows into the language of contemporaneous accounts, and deeply interrogates the very notion of memory.