This collection examines the development of art criticism across Russia and Western Europe in the eighteenth and nineteenth centuries. Art criticism articulated local ideas about functions of art but, more importantly, it also became one of the most responsive fields in which a larger, transnational European exchange of ideas about the role of critical discourse could take place. Art criticism of this period was also rich in rhetorical strategies and textual diversity. International contributors to this volume, who include art historians, cultural historians, and specialists in critical and philosophical discourse, examine the emergence of art critical discourse in a variety of cultural and geo-political contexts.

Mission-Critical Microsoft Exchange 2003 provides a complete update of Cochran's Mission-Critical Microsoft Exchange 2000, and complements Tony Redmond's new book, the best-selling Microsoft Exchange Server 2003. This book includes many of the same high-availability topics as the first edition but also expands the coverage of storage technology, server technology, management, and security. The book meets the needs of an Exchange administrator or system implementer who is striving to maintain a production Exchange environment that delivers superior service levels, high availability, manageability and scalability with the lowest cost of ownership.·Gives "lessons learned" and other best practices from organizations that have successfully deployed Exchange·Includes material on the forthcoming release of Exchange 2003·Offers advice from one of the most experienced storage practitioners

The first book to investigate the relevance of Theodor W. Adorno's work for theorizing the age of neoliberal capitalism. Through an engagement with Adorno's critical theory of society, Charles Prusik advances a novel approach to understanding the origins and development of neoliberalism. Offering a corrective to critics who define neoliberalism as an economic or political doctrine, Prusik argues that Adorno's dialectical theory of society can provide the basis for explaining the illusions and forms of domination that structure contemporary life. Prusik explains the importance of Marx's critique of commodity fetishism in shaping Adorno's work and focuses on the related concepts of exchange, ideology, and natural history as powerful tools for grasping the present. Through an engagement with the ideas of neoliberal economic theory, Adorno and Neoliberalism criticizes the naturalization of capitalist institutions, social relations, ideology, and cultural forms. Revealing its origins in the crises of the Fordist period, Prusik develops Adorno's analyses of class, exploitation, monopoly, and reification to situate neoliberal policies as belonging to the fundamental antagonisms of capitalist society.

In an age where art history’s questions are now expected to receive answers, Richard Shiff presents a challenging alternative. In this essential new addition to James Elkins’s series Theories of Modernism and Postmodernism in the Visual Arts, Richard Shiff embraces doubt as a critical tool and asks how particular histories of art have come to be. Shiff’s turn to doubt is not a retreat to relativism, but rather an insistence on clear thinking about art. In particular, Shiff takes issue with the style of self-referential art writing seemingly 'licensed' by Roland Barthes. With an introduction by Rosie Bennett, Doubt is a study of the tension between practicing art and practicing criticism.

No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.

No. 3 of each year (1979- ) has distinctive title: America and the world.