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Until now, writings about the architect/landscape architect Georges Descombes have been relatively limited, appearing primarily in publications in Switzerland and abroad as conversations, interviews, and conference proceedings; most of them have appeared only in French. However, during his forty years of practice, Descombes has developed and applied a method unique to landscape architecture, one in which an extremely broad vision, both scientifically and culturally, shapes his thinking and projects. Descombes enters each project by attempting to understand the existing conditions on site and how, using minimal means and interventions, those conditions can be modified to meet the requirements of the program and those appropriate to the natural or urban environment. To some critics it would appear that Descombes has always done too little on and to the site, and in some instances have condemned him for "doing almost nothing." Although simplicity usually demands greater concentration and study, it often yields greater rewards that result from just that restraint. Perhaps how we approach the world is more important that how we shape the world. Descombes's landscapes are instructive in this regard. In our current era, the concern for the planet as a whole, its dwindling resources, the despoiling of its air, water, and land, and an exploding population have skewed the profession's focus toward sustainability, ecology, resilience, and other related concerns. In the process, the social role played by landscape architecture has been lessened, if not forgotten, and the role of form, space, composition, and materials--that is to say the aesthetic dimension of landscape design--has become a distant concern. Descombes's practice strikes that vital balance between effective environmental performance and the ethical creation of beauty. Instead of favoring one pursuit over the other, or relying on a delimiting specialization, he works in a way that may be justifiably regarded as both/and rather than either/or - a comprehensive vision that weds nature and culture, landscape and architecture, people and milieu.
The story of a kind of poverty in America so deep that we, as a country, don't even think exists--from a leading national poverty expert who "defies convention" (New York Times)
** A New York Times Bestseller ** NAMED ONE OF THE BEST BOOKS OF THE YEAR BY: Time • The New Yorker • NPR • GQ • Elle • Vulture • Fortune • Boing Boing • The Irish Times • The New York Public Library • The Brooklyn Public Library "A complex, smart and ambitious book that at first reads like a self-help manual, then blossoms into a wide-ranging political manifesto."—Jonah Engel Bromwich, The New York Times Book Review One of President Barack Obama's "Favorite Books of 2019" Porchlight's Personal Development & Human Behavior Book of the Year In a world where addictive technology is designed to buy and sell our attention, and our value is determined by our 24/7 data productivity, it can seem impossible to escape. But in this inspiring field guide to dropping out of the attention economy, artist and critic Jenny Odell shows us how we can still win back our lives. Odell sees our attention as the most precious—and overdrawn—resource we have. And we must actively and continuously choose how we use it. We might not spend it on things that capitalism has deemed important … but once we can start paying a new kind of attention, she writes, we can undertake bolder forms of political action, reimagine humankind’s role in the environment, and arrive at more meaningful understandings of happiness and progress. Far from the simple anti-technology screed, or the back-to-nature meditation we read so often, How to do Nothing is an action plan for thinking outside of capitalist narratives of efficiency and techno-determinism. Provocative, timely, and utterly persuasive, this book will change how you see your place in our world.
A compelling read, Very Little ... Almost Nothing opens up new ways of understanding finitude, modernity and the nature of imagination. Revised edition with a new preface by the author.
A compelling biography of the Polish painter and writer Józef Czapski that takes readers to Paris in the Roaring Twenties, to the front lines during WWII, and into the late 20th-century art world. Józef Czapski (1896–1993) lived many lives during his ninety-six years. He was a student in Saint Petersburg during the Russian Revolution and a painter in Paris in the roaring twenties. As a Polish reserve officer fighting against the invading Nazis in the opening weeks of the Second World War, he was taken prisoner by the Soviets. For reasons unknown to this day, he was one of the very few excluded from Stalin’s sanctioned massacres of Polish officers. He never returned to Poland after the war, but worked tirelessly in Paris to keep alive awareness of the plight of his homeland, overrun by totalitarian powers. Czapski was a towering public figure, but painting gave meaning to his life. Eric Karpeles, also a painter, reveals Czapski’s full complexity, pulling together all the threads of this remarkable life.
"This collection of humorous life hacks features 100 low-commitment solutions to the everyday problems of the twenty-something woman. Learn how to get things done with as little effort as possible. Learn to simplify your beauty routine, keep up with your friendships, hack the dating game, and get by in the corporate world with these easy suggestions"--
“A welcome antidote to our toxic hustle culture of burnout.”—Arianna Huffington “This book is so important and could truly save lives.”—Elizabeth Gilbert “A clarion call to work smarter [and] accomplish more by doing less.”—Adam Grant We work feverishly to make ourselves happy. So why are we so miserable? Despite our constant search for new ways to optimize our bodies and minds for peak performance, human beings are working more instead of less, living harder not smarter, and becoming more lonely and anxious. We strive for the absolute best in every aspect of our lives, ignoring what we do well naturally and reaching for a bar that keeps rising higher and higher. Why do we measure our time in terms of efficiency instead of meaning? Why can’t we just take a break? In Do Nothing, award-winning journalist Celeste Headlee illuminates a new path ahead, seeking to institute a global shift in our thinking so we can stop sabotaging our well-being, put work aside, and start living instead of doing. As it turns out, we’re searching for external solutions to an internal problem. We won’t find what we’re searching for in punishing diets, productivity apps, or the latest self-improvement schemes. Yet all is not lost—we just need to learn how to take time for ourselves, without agenda or profit, and redefine what is truly worthwhile. Pulling together threads from history, neuroscience, social science, and even paleontology, Headlee examines long-held assumptions about time use, idleness, hard work, and even our ultimate goals. Her research reveals that the habits we cling to are doing us harm; they developed recently in human history, which means they are habits that can, and must, be broken. It’s time to reverse the trend that’s making us all sadder, sicker, and less productive, and return to a way of life that allows us to thrive.
What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society. Focusing on comparative case studies drawn from European, North and South American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century. This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.
“A back-to-the-land classic” (Garden & Gun) that will “inspire you to embrace a simpler life” (O, The Oprah Magazine). In the late seventies, at the age of eighteen and with a seventh-grade education, Dolly Freed wrote Possum Living about the five years she and her father lived off the land on a half-acre lot outside of Philadelphia. At the time of its publication in 1978, Possum Living became an instant classic, known for its plucky narration and no-nonsense practical advice on how to quit the rat race and live frugally. In her delightful, straightforward, and irreverent style, Freed guides readers on how to buy and maintain a home, raise and grow their own food, cope with the law, stay healthy, save money, and more, all in the name of self-reliant, independent living. Forty years later, Possum Living remains an essential guide to going off the grid. This updated edition includes an introduction by Novella Carpenter, and new wisdom from Freed on aging, used cars, emergency funds, and how to get back in touch with yourself. Possum Living, says Freed, is about how to cook; to go fishing; to be with family, friends, and neighbors; to forage for wild berries; to enjoy a hobby; to relax; or, even better, to do nothing at all. Some of the best living, she reminds us, happens in possum time.
Existing in myriad forms, containing multitudes in its reflection, and coursing through each and every one of us, water sustains the world around us--and life itself.