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Domesticating the Invisible examines how postwar notions of form developed in response to newly perceived environmental threats, in turn inspiring artists to model plastic composition on natural systems often invisible to the human eye. Melissa S. Ragain focuses on the history of art education in Cambridge, Massachusetts, to understand how an environmental approach to form inspired new art programs at Harvard and MIT. As they embraced scientistic theories of composition, these institutions also cultivated young artists as environmental agents who could influence urban design and contribute to an ecologically sensitive public sphere. Ragain combines institutional and intellectual histories to map how the emergency of environmental crisis altered foundational modernist assumptions about form, transforming questions about aesthetic judgment into questions about an ethical relationship to the environment.
This is an innovative and original socio-cultural study of the history of electricity during the late Victorian and Edward periods. Gooday shows how technology, authority and gender interacted in pre-World War I Britain. The rapid take-up of electrical light and domestic appliances on both sides of the Atlantic had a wide-ranging effect on consumer habits and the division of labour within the home. Electricity was viewed by non-experts as potential threat to domestic order and welfare. This broadly interdisciplinary study relates to a website developed by the author on the history of electricity.
This book explores the ways Robert Smithson’s art revealed and defamiliarized the constructs of rational reality in order to allow radically speculative alternatives to emerge. In this way, his art is conceived as a true fiction that eradicates a false reality. By tracing the web of correspondences between Smithson and science fictional, speculative and mystical modes of thought, Rory O’Dea explores the aesthetic encounters engendered by his art as a means to warp the contours of reality and loosen the boundaries of being human. Given the current and impending catastrophes of the Anthropocene, which represents the ever-expanding planetary shadow cast by humanism, the possibility of being other-than-human posited by Smithson’s art is a matter of urgent concern. The book will be of interest to scholars working in art history, contemporary art, American studies and environmental humanities.
This book examines how the peripheral can be incorporated into ethnographic research, and reflects on what it means to be on the periphery—ontologically and epistemologically. Starting from the premise that clarity and fixity as ideals of modernity prevent us from approaching that which cannot be easily captured and framed into scientific boundaries, the book argues for remaining on the boundary between the known and the unknown in order to surpass this ethnographic limit. It shows that peripherality is not only to be seen as a marginal condition, but rather as a form of theory-making and practice that incorporates reflexivity and experimentation.
domesticating symbols looks at the entropic dissolution of symbolic structures we are experiencing today and explores various approaches towards learning to create code. Photovoltaics and its capacity to capture energy by coding instead of exploitation of resources, and of integrating in additional or surplus quantities of energy into the ecosphere of the planet‘s natural balance is the central focus of this publication. Energythereby also encompasses the genuinely abstract format of electricity, which makes it possible to convert any form of energy into any other form. This is the second volume of the Applied Virtuality book series based on the Metalithicum Conferences by the Laboratory of Applied Virtuality at the Chair for Computer Aided Architectural Design, Swiss Federal Institute of Technology (ETH) Zurich.
Domesticating Empire is the first contextually-oriented monograph on Egyptian imagery in Roman households. Caitlín Barrett draws on case studies from Flavian Pompeii to investigate the close association between representations of Egypt and a particular type of Roman household space: the domestic garden. Through paintings and mosaics portraying the Nile, canals that turned the garden itself into a miniature "Nilescape," and statuary depicting Egyptian themes, many gardens in Pompeii offered ancient visitors evocations of a Roman vision of Egypt. Simultaneously faraway and familiar, these imagined landscapes made the unfathomable breadth of empire compatible with the familiarity of home. In contrast to older interpretations that connect Roman "Aegyptiaca" to the worship of Egyptian gods or the problematic concept of "Egyptomania," a contextual analysis of these garden assemblages suggests new possibilities for meaning. In Pompeian houses, Egyptian and Egyptian-looking objects and images interacted with their settings to construct complex entanglements of "foreign" and "familiar," "self" and "other." Representations of Egyptian landscapes in domestic gardens enabled individuals to present themselves as sophisticated citizens of empire. Yet at the same time, household material culture also exerted an agency of its own: domesticizing, familiarizing, and "Romanizing" once-foreign images and objects. That which was once imagined as alien and potentially dangerous was now part of the domus itself, increasingly incorporated into cultural constructions of what it meant to be "Roman." Featuring brilliant illustrations in both color and black and white, Domesticating Empire reveals the importance of material culture in transforming household space into a microcosm of empire.
Shakespeare's Domestic Economies explores representations of female subjectivity in Shakespearean drama from a refreshingly new perspective, situating The Taming of the Shrew, The Merry Wives of Windsor, Othello, and Measure for Measure in relation to early modern England's nascent consumer culture and competing conceptions of property. Drawing evidence from legal documents, economic treatises, domestic manuals, marriage sermons, household inventories, and wills to explore the realities and dramatic representations of women's domestic roles, Natasha Korda departs from traditional accounts of the commodification of women, which maintain that throughout history women have been "trafficked" as passive objects of exchange between men. In the early modern period, Korda demonstrates, as newly available market goods began to infiltrate households at every level of society, women emerged as never before as the "keepers" of household properties. With the rise of consumer culture, she contends, the housewife's managerial function assumed a new form, becoming increasingly centered around caring for the objects of everyday life—objects she was charged with keeping as if they were her own, in spite of the legal strictures governing women's property rights. Korda deftly shows how their positions in a complex and changing social formation allowed women to exert considerable control within the household domain, and in some areas to thwart the rule of fathers and husbands.
Ethics and Aesthetics of Translation engages with translation, in both theory and practice, as part of an interrogation of ethical as well as political thought in the work of three bilingual European authors: Bernardo Atxaga, Milan Kundera and Jorge Semprún. In approaching the work of these authors, the book draws upon the approaches to translation offered by Benjamin, Derrida, Ricœur and Deleuze to highlight a broad set of ethical questions, focused upon the limitations of the monolingual and the democratic possibilities of linguistic plurality; upon our innate desire to translate difference into similarity; and upon the ways in which translation responds to the challenges of individual and collective remembrance. Each chapter explores these interlingual but also intercultural, interrelational and interdisciplinary issues, mapping a journey of translation that begins in the impact of translation upon the work of each author, continues into moments of linguistic translation, untranslatability and mistranslation within their texts and ultimately becomes an exploration of social, political and affective (un)translatability. In these journeys, the creative and critical potential of translation emerges as a potent, often violent, but always illuminating, vision of the possibilities of differentiation and connection, generation and memory, in temporal, linguistic, cultural and political terms.
This text focuses on the construction of Englishness through vernacular translations. It suggests ways of looking at the questioning of the English subject through texts that engage with translation in differing ways.