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A bold rethinking of urban political ecology
Leviathan and the Air-Pump examines the conflicts over the value and propriety of experimental methods between two major seventeenth-century thinkers: Thomas Hobbes, author of the political treatise Leviathan and vehement critic of systematic experimentation in natural philosophy, and Robert Boyle, mechanical philosopher and owner of the newly invented air-pump. The issues at stake in their disputes ranged from the physical integrity of the air-pump to the intellectual integrity of the knowledge it might yield. Both Boyle and Hobbes were looking for ways of establishing knowledge that did not decay into ad hominem attacks and political division. Boyle proposed the experiment as cure. He argued that facts should be manufactured by machines like the air-pump so that gentlemen could witness the experiments and produce knowledge that everyone agreed on. Hobbes, by contrast, looked for natural law and viewed experiments as the artificial, unreliable products of an exclusive guild. The new approaches taken in Leviathan and the Air-Pump have been enormously influential on historical studies of science. Shapin and Schaffer found a moment of scientific revolution and showed how key scientific givens--facts, interpretations, experiment, truth--were fundamental to a new political order. Shapin and Schaffer were also innovative in their ethnographic approach. Attempting to understand the work habits, rituals, and social structures of a remote, unfamiliar group, they argued that politics were tied up in what scientists did, rather than what they said. Steven Shapin and Simon Schaffer use the confrontation between Hobbes and Boyle as a way of understanding what was at stake in the early history of scientific experimentation. They describe the protagonists' divergent views of natural knowledge, and situate the Hobbes-Boyle disputes within contemporary debates over the role of intellectuals in public life and the problems of social order and assent in Restoration England. In a new introduction, the authors describe how science and its social context were understood when this book was first published, and how the study of the history of science has changed since then.
Decomposition is a bracing, revisionary, and provocative inquiry into music—from Beethoven to Duke Ellington, from Conlon Nancarrow to Evelyn Glennie—as a personal and cultural experience: how it is composed, how it is idiosyncratically perceived by critics and reviewers, and why we listen to it the way we do. Andrew Durkin, best known as the leader of the West Coast–based Industrial Jazz Group, is singular for his insistence on asking tough questions about the complexity of our presumptions about music and about listening, especially in the digital age. In this winning and lucid study he explodes the age-old concept of musical composition as the work of individual genius, arguing instead that in both its composition and reception music is fundamentally a collaborative enterprise that comes into being only through mediation. Drawing on a rich variety of examples—Big Jay McNeely’s “Deacon’s Hop,” Biz Markie’s “Alone Again,” George Antheil’s Ballet Mécanique, Frank Zappa’s “While You Were Art,” and Pauline Oliveros’s “Tuning Meditation,” to name only a few—Durkin makes clear that our appreciation of any piece of music is always informed by neuroscientific, psychological, technological, and cultural factors. How we listen to music, he maintains, might have as much power to change it as music might have to change how we listen.
Best known for his books We Have Never Been Modern, Laboratory Life, and Science in Action, Bruno Latour has inspired scholarship across many disciplines. In the past few years, the fields of rhetoric and composition have witnessed an explosion of interest in Latour’s work. Editors Paul Lynch and Nathaniel Rivers have assembled leading and emerging scholars in order to focus the debate on what Latour means for the study of persuasion and written communication. Essays in this volume discern, rearticulate, and occasionally critique rhetoric and composition’s growing interest in Latour. These contributions include work on topics such as agency, argument, rhetorical history, pedagogy, and technology, among others. Contributors explain key terms, identify implications of Latour’s work for rhetoric and composition, and explore how his theories might inform writing pedagogies and be used to build research methodologies. Thinking with Bruno Latour in Rhetoric and Composition shows how Latour’s groundbreaking theories on technology, agency, and networks might be taken up, enriched, and extended to challenge scholars in rhetorical studies (both English and communications), composition, and writing studies to rethink some of the field’s most basic assumptions. It is set to become the standard introduction that will appeal not only to those scholars already interested in Latour but also those approaching Latour for the first time.
At the start of the twenty-first century, the contemporary implies a clear desire to affirm a type of art that is expanding across the globe, challenging old geographical borders, and reclaiming narratives of place and displacement; in other words, new cultural practices that transfigure the relationship between the global and the local, and articulate the discourse of difference. Being in the place of here and now, working with others in simultaneous and specific practice, and contemplating the production of work in the experience of connection means raising the value of the performative aspect of practice and displacing the reflective role of cultural production. In the new cartography of this multifarious global art, the author, who combines theoretical and curatorial discourse with creative practice, defines how global concepts circulate from the critical analysis of transnational contemporary art to the global.
This book offers a unique and timely reading of the early Frankfurt School in response to the recent ‘affective turn’ within the arts and humanities. Resisting the overly rationalist tendencies of political philosophy, it argues that critical theory actively cultivates a powerful connection between thinking and feeling, and rediscovers a range of often neglected concepts that were of vital importance to the first generation of critical theorists, including melancholia, hope, (un)happiness, objects and mimesis. In doing so, it brings the dynamic work of Walter Benjamin, Theodor Adorno, Ernst Bloch and Siegfried Kracauer into conversation with more recent debates around politics and affect. An important intervention in the fields of affect studies and social and political thought, Critical theory and feeling shows that sensuous experience is at the heart of the Frankfurt School’s affective politics.
Jesus Manifesto presents a fresh unveiling of Jesus, seeking to restore the supremacy and sovereignty of Christ in a world—and a church—that has lost sight of Him. Christians have made the gospel about so many things—things other than Christ. Religious concepts, ideas, doctrines, strategies, and methods that begin to eclipse the beauty, the glory, and the reality of the Lord Jesus Himself. We know a lot about our Lord, but we don't know Him very well. We know a lot about trying to be like Jesus, but very little about living by His indwelling life. Jesus Manifesto provides clarity on the most important points of our faith. It is a prophetic call to restore the supremacy and sovereignty of Christ in a world and church that has lost sight of Him. This manifesto emphasizes ten crucial areas of restoring the supremacy of Jesus Christ, noting: Christians don’t follow Christianity; they follow Christ Christians don't proclaim themselves; they proclaim Christ Christians don’t point people to core values; they point people to the Cross Christians don't preach about Christ; they preach Christ Read this book to see your Lord like you've never seen Him before and restore the sovereignty of Jesus in your life.
The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice. Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice. Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.
Bringing together ecology, evolutionary moral psychology, and environmental ethics, J. Baird Callicott counters the narrative of blame and despair that prevails in contemporary discussions of climate ethics and offers a fresh, more optimistic approach. Whereas other environmental ethicists limit themselves to what Callicott calls Rational Individualism in discussing the problem of climate change only to conclude that, essentially, there is little hope that anything will be done in the face of its "perfect moral storm" (in Stephen Gardiner's words), Callicott refuses to accept this view. Instead, he encourages us to look to the Earth itself, and consider the crisis on grander spatial and temporal scales, as we have failed to in the past. Callicott supports this theory by exploring and enhancing Aldo Leopold's faint sketch of an Earth ethic in "Some Fundamentals of Conservation in the Southwest," a seldom-studied text from the early days of environmental ethics that was written in 1923 but not published until 1979 after the environmental movement gathered strength.