The 1960s and 1970s avant-garde has been likened to an ‘architectural Big Bang’, such was the intensity of energy and ambition in which it exploded into the postwar world. Marked out by architectural projects that redefined the discipline, it remains just as influential today. References to the likes of Archizoom, Peter Eisenman, John Hejduk and Superstudio abound. Highly diverse, the avant-garde cannot be defined as a single strand or tendency. It was divergent geographically – reaching from Europe to North America and Japan – and in its political, formal and cultural preoccupations. It was unified, though, as a critical and experimental force, critiquing contemporary society against the backdrop of extreme social and political upheaval: the Paris riots of May 1968, the anti-Vietnam war movement in America and the looming ecological crisis. Re-imagining the Avant-garde outlines how in contemporary architectural practice, avant-garde projects retain their power as historical precedents, as barometers of a particular design ethos, as critiques of society and instigators of new formal techniques. Given the far-reaching impact of the subsequent digital revolution, which has since reshaped every aspect of practice, the issue asks why this historical period continues to retain its undeniable grip on current architecture. Contributors: Pablo Bronstein and Sam Jacob, Sarah Deyong, Stylianos Giamarelos, Damjan Jovanovic, Andrew Kovacs, Perry Kulper, Igor Marjanovic, William Menking, Michael Sorkin, Neil Spiller and Mimi Zeiger. Featured architects: Archizoom, Andrea Branzi, Jimenez Lai, Luis Miguel (Koldo) Lus Arana (Klaus), NEMESTUDIO, Superstudio and UrbanLab.

Mediterranean states are often thought to have 'democratised' only in the post-war era, as authoritarian regimes were successively overthrown. On its eastern and southern shores, the process is still contested. Re-imagining Democracy looks back to an earlier era, the late eighteenth and early nineteenth centuries, and argues it was this era when some modern version of 'democracy' in the region first began. By the 1860s, representative regimes had been established throughout southern Europe, and representation was also the subject of experiment and debate in Ottoman territories. Talk of democracy, its merits and limitations, accompanied much of this experimentation - though there was no agreement as to whether or how it could be given stable political form. Re-imagining Democracy assembles experts in the history of the Mediterranean, who have been exploring these themes collaboratively, to compare and contrast experiences in this region, so that they can be set alongside better-known debates and experiments in North Atlantic states. States in the region all experienced some form of subordination to northern 'great powers'. In this context, their inhabitants had to grapple with broader changes in ideas about state and society while struggling to achieve and maintain meaningful self-rule at the level of the polity, and self-respect at the level of culture. Innes and Philip highlight new research and ideas about a region whose experiences during the 'age of revolutions' are at best patchily known and understood, as well as to expand understanding of the complex and variegated history of democracy as an idea and set of practices.

This book explores an under-researched body of work from the early decades of the twentieth century, connecting plays, performances and practitioners together in dynamic dialogues. Moving across national, generational and social borders, the book reads experiments in Britain during this period alongside theatrical innovations overseas.

The most significant architectural spaces in the world are now entirely empty of people. The data centres, telecommunications networks, distribution warehouses, unmanned ports and industrialised agriculture that define the very nature of who we are today are at the same time places we can never visit. Instead they are occupied by server stacks and hard drives, logistics bots and mobile shelving units, autonomous cranes and container ships, robot vacuum cleaners and internet-connected toasters, driverless tractors and taxis. This issue is an atlas of sites, architectures and infrastructures that are not built for us, but whose form, materiality and purpose is configured to anticipate the patterns of machine vision and habitation rather than our own. We are said to be living in a new geological epoch, the Anthropocene, in which humans are the dominant force shaping the planet. This collection of spaces, however, more accurately constitutes an era of the Post-Anthropocene, a period where it is technology and artificial intelligence that now computes, conditions and constructs our world. Marking the end of human-centred design, the issue turns its attention to the new typologies of the post-human, architecture without people and our endless expanse of Machine Landscapes. Contributors: Rem Koolhaas, Merve Bedir and Jason Hilgefort, Benjamin H Bratton, Ingrid Burrington, Ian Cheng, Cathryn Dwyre, Chris Perry, David Salomon and Kathy Velikov, John Gerrard, Alice Gorman, Adam Harvey, Jesse LeCavalier, Xingzhe Liu, Clare Lyster, Geoff Manaugh, Tim Maughan, Simone C Niquille, Jenny Odell, Trevor Paglen, Ben Roberts. Featured interviews: Deborah Harrison, designer of Microsoft’s Cortana; and Paul Inglis, designer of the urban landscapes of Blade Runner 2049.

Research on popular culture is a dynamic, fast-growing domain. In scholarly terms, it cuts across many areas, including communication studies, sociology, history, American studies, anthropology, literature, journalism, folklore, economics, and media and cultural studies. The Routledge Companion to Global Popular Culture provides an authoritative, up-to-date, intellectually broad, internationally-aware, and conceptually agile guide to the most important aspects of popular culture scholarship. Specifically, this Companion includes: interdisciplinary models and approaches for analyzing popular culture; wide-ranging case studies; discussions of economic and policy underpinnings; analysis of textual manifestations of popular culture; examinations of political, social, and cultural dynamics; and discussions of emerging issues such as ecological sustainability and labor. Featuring scholarly voices from across six continents, The Routledge Companion to Global Popular Culture presents a nuanced and wide-ranging survey of popular culture research.

Interdisciplinary in approach, this book presents new interpretations of museum history and practices. Engaging with a variety of commentators, the text discusses museums in terms of their relationship with the media and their role in modern society.

′His wealth of scholarship and sharp insights make this a very fine book indeed. It is probably the fullest statement of Raymond Williams′s enduring influence upon cultural studies′ - Jim McGuigan, University of Loughborough ′An accessible, engaging book′ - TOPIA: Canadian Journal of Cultural Studies This important book traces the continuing influence on contemporary cultural studies of the kinds of cultural materialism developed by Raymond Williams and his successors. Williams now often appears in cultural studies as a vaguely remembered ′founding father′, rather than a theorist whose work is still actively relevant to our present condition. Milner′s book restores Williams to a central position in relation to the formation and development of cultural studies. It stresses the differences between Williams and that other founding father, Richard Hoggart, arguing that the label ′culturalism′ cannot properly be applied to both. It argues that Williams stands in an essentially analogous relation to the British ′culturalist′ tradition as do Foucault and Bourdieu to French structuralism and Habermas to German critical theory and that his cultural materialism is not so much culturalist as positively ′post-culturalist′. To those who have complained that contemporary cultural studies is insufficiently concerned with history, embeddedness and political economy, Milner suggests that this is so, in part, because Williams has become such a neglected resource. The book is a much needed reappraisal of the Williams approach, correcting misinterpretations and demonstrating its singular relevance to the problems and potentials facing cultural studies today. What emerges most powerfully is a logically consistent and penetrating way of ′doing cultural studies′ that successfully challenges many of the dominant approaches in the field.

Imagination is a word that is widely used by marketing practitioners but rarely examined by marketing academics. This neglect is largely due to the imagination's 'artistic' connotations, which run counter to the 'scientific' mindset that dominates marketing scholarship. Of late, however, an artistic 'turn' has taken place in marketing research, and

World War I had a profound influence on the aesthetics and politics of Russian culture, perhaps even more than the revolution. Looking at how the war changed Russian culture, especially visual art, Cohen shows how the wartime environment allowed iconoclastic modern art to flourish.

Often seen as backward-looking and convention-bound, genre painting representing scenes of everyday life was central to the work of twentieth-century artists such as John Sloan, Norman Rockwell, Jacob Lawrence, and others, who adapted such subjects to an era of rapid urbanization, mass media, and modernist art. Re-envisioning the Everyday asks what their works do to the tradition of genre painting and whether it remains a meaningful category through which to understand them. Working with and against the established narrative of American genre painting’s late nineteenth-century decline into obsolescence, John Fagg explores how artists and illustrators used elements of the tradition to picture everyday life in a rapidly changing society, whether by appealing to its nostalgic and historical connotations or by updating it to address new formal and thematic concerns. Fagg argues that genre painting enabled twentieth-century artists to look slowly and carefully at scenes of everyday life and, on some occasions, to understand those scenes as sites of political oppression and resistance. But it also limited them to anachronistic ways of seeing and tied them to a freighted history of stereotyping and condescension. By surveying genre painting when its status and relevance were uncertain and by looking at works that stretch and complicate its boundaries, this book considers what the form is and probes the wider practice of generic categorization. It will appeal to students and scholars of American art history, art criticism, and cultural studies.