Materiology is directed at all those who are interested in materials and in working with materials: from architects, production designers, and stylists to artists: a handbook for students and new professionals as well as for experienced professionals, written in a clear, understandable style. In four chapters, Materiology offers an overview of the different kinds, processing, and use of materials: 1. Material families: from wood, metal, and plastics to light. 2. Material catalog: over 120 material cards, from basic materials to the latest innovations. 3. Processes: The basics of material processing (spray molds, extrusion, and so on) are presented in a clear manner using numerous diagrams. 4. Thinking ahead: from new processing and use possibilities to questions concerning environmental protection and virtual reality. A prospectus addresses the issues that will be relevant in the future for material development and material use. The second edition has a further 18 material cards and focuses on the challenges of sustainability in design and architecture.

The Materiality of buildings and constructions is an important aspect of architectural design. The approach to and use of materials is a fundamental building block of architectural training. Themes: Subjective effect of materials Haptic influences Use of materials Creative use of classical construction materials

Against an ever-expanding and diversifying ‘rights talk’, this book re-opens the question of obligation from not only legal but also ethical, sociological and political perspectives. Its premise is that obligation has a primacy ahead of rights, because rights attach to practices and modes of being that are already saturated with obligations. Obligations thus lie at the core not just of law but of community. Yet the distinctive meanings, range and situations of obligation have tended to remain under-theorised in legal scholarship. In response, this book examines the sense in which we are multiply ‘bound beings’, to law and legal institutions, as much as we are to place, community, memory and the various social institutions that give shape to collective life. Sharing this set of concerns, each of the international group of scholars contributing to this volume traces the specificity of the binding force of obligations, their techniques and modes of expression, as well as their centrally important role in giving form to lawful relations. Together they provide an innovative and challenging contribution to legal scholarship: one that will also be of relevance to those working in politics, philosophy and social theory.

This study examines how hunger narratives and performances contribute to a reconsideration of neglected or prohibited domains of thinking which only a full confrontation with the body’s heterogeneity and plasticity can reveal. From literary motif or psychosomatic symptom to revolutionary gesture or existential malady, the double crux of hunger and disgust is a powerful force which can define the experience of embodiment. Kafka’s fable of the "Hunger Artist" offers a matrix for the fast, while its surprising last-page revelation introduces disgust as a correlative of abstinence, conscious or otherwise. Grounded in Kristeva’s theory of abjection, the figure of the fraught body lurking at the heart of the negative grotesque gathers precision throughout this study, where it is employed in a widening series of contexts: suicide through overeating, starvation as self-performance or political resistance, the teratological versus the totalitarian, the anorexic harboring of death. In the process, writers and artists as diverse as Herman Melville, Percy Bysshe Shelley, Christina Rossetti, George Orwell, Knut Hamsun, J.M. Coetzee, Cindy Sherman, Pieter Breughel, Marina Abramovic, David Nebreda, Paul McCarthy, and others are brought into the discussion. By looking at the different acts of visceral, affective, and ideological resistance performed by the starving body, this book intensifies the relationship between hunger and disgust studies while offering insight into the modalities of the "dark grotesque" which inform the aesthetics and politics of hunger. It will be of value to anyone interested in the culture, politics, and subjectivity of embodiment, and scholars working within the fields of disgust studies, food studies, literary studies, cultural theory, and media studies.

A quantitative introduction to atmospheric science for students and professionals who want to understand and apply basic meteorological concepts but who are not ready for calculus.

Critical theory, characteristically linked with the politics of theoretical engagement, covers the manifold of the connections between theory and praxis. This thought-provoking Research Handbook captures the broad range of those connections as far as legal thought is concerned and retains an emphasis both on the politics of theory, and on the notion of theoretical engagement. The first part examines the question of definition and tracks the origins and development of critical legal theory along its European and North American trajectories. The second part looks at the thematic connections between the development of legal theory and other currents of critical thought such as; Feminism, Marxism, Critical Race Theory, varieties of post-modernism, as well as the various ‘turns’ (ethical, aesthetic, political) of critical legal theory. The third and final part explores particular fields of law, addressing the question how the field has been shaped by critical legal theory, or what critical approaches reveal about the field, with the clear focus on opportunities for social transformation.

The Czech-Brazilian philosopher Vilém Flusser (1920–1991) has been recognized as a decisive past master in the emergence of contemporary media theory and media archeology. His work engages and also rethinks several mythologies of modernity, devising new methodologies, experimental literary practices, and expanded hermeneutics that trouble traditional practices of literary/literate knowledge, shared experience, reception, and communication. Working within an expanded concept of modernism, Flusser presciently noted the power inherent in algorithmic information apparatuses to reshape our fundamental conceptions of culture and history. In an increasingly technological world, Flusser's form of experimental theory-fiction pits philosophy against cybernetics as it forces the category of “the human” to confront the inhuman world of animals and machines. The contributors to Understanding Flusser, Understanding Modernism engage with the multiplicity of Flusser's thought as they provide a general analysis of his work, engage in comparative readings with other philosophers, and offer expanded conceptualizations of modernism. The final section of the volume includes an extended glossary clarifying the playful terminology used by Flusser, which will be a valuable resource for experts and students alike.

In a new approach to philosophical anthropology, Bruno Latour offers answers to questions raised in We Have Never Been Modern: If not modern, what have we been, and what values should we inherit? An Inquiry into Modes of Existence offers a new basis for diplomatic encounters with other societies at a time of ecological crisis.

Materials and the myriad technologies that have been developed to manipulate them are of essential relevance to product designers, architects, artists and stylists, as they represent the starting point for every product and every architectural work. The book is an encyclopaedic compendium of around 1,000 terms in this field, from aerogel to marble to zirconium. It features traditional and frequently used materials, as well as new and unexpected ones. Their respective advantages and disadvantages are precisely described. In addition, terms related to production processes, such as upcycling or tanning, or that describe the properties of materials or are closely related to the topic have also been included.