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Iconomy: Towards a Political Economy of Images argues that imagery of all kinds has become a definitive force in the shaping of contemporary life. While immersed in public politics and private imaginaries, such imagery also operates according to its own logic, potentialities, and limitations. It questions whether an image economy, an iconomy, in these two senses can be identified. From Plato, through medieval iconoclasm, Marx, Benjamin, and Debord to recent critical theory, the question becomes more urgent. This book explores viral imagery--the iconopolitics--of the pandemic, U.S. Presidents Trump and Biden, Black Lives Matter, as well as the rise of a "black aesthetic" in white artworlds. Having arrived at the term "iconomy" in the years just prior to 9/11, and tracking its growing relevance since then, Smith argues that its study does not require a discipline serving nation state and globalizing capitalism but, instead, a deconstructive interdiscipline that contributes to the politics of planetary world-making.
In The Fold, Laura U. Marks offers a practical philosophy and aesthetic theory for living in an infinitely connected cosmos. Drawing on the theories of Leibniz, Glissant, Deleuze, and theoretical physicist David Bohm—who each conceive of the universe as being folded in on itself in myriad ways—Marks contends that the folds of the cosmos are entirely constituted of living beings. From humans to sandwiches to software to stars, every entity is alive and occupies its own private enclosure inside the cosmos. Through analyses of fiction, documentary, and experimental movies, interactive media, and everyday situations, Marks outlines embodied methods for detecting and augmenting the connections between each living entity and the cosmos. She shows that by affectively mediating with the ever-shifting folded relations within the cosmos, it is possible to build “soul-assemblages” that challenge information capitalism, colonialism, and other power structures and develop new connections with the infinite. With this guide for living within the enfolded and unfolding cosmos, Marks teaches readers to richly apprehend the world and to trace the processes of becoming that are immanent within the fold.
In this innovative collection, a distinguished group of international authors dare to think psychoanalytically about the legacies of political violence and suffering in relation to post-traumatic cultures worldwide. They build on maverick art historian Aby Warburg's project of combining social, cultural, anthropological and psychological analyses of the image in order to track the undercurrents of cultural violence in the representational repertoire of Western modernity. Drawing on post-colonial and feminist theory, they analyze the image and the aesthetic in conditions of historical trauma, from enslavement and colonization to the Irish Famine, from Denmark's national trauma about migrants and cartoons to collective shock after 9/11, from individual traumas of loss registered in allegory to newsreels and documentaries on suicide bombing in Israel/Palestine, and from Kristeva's novels to Kathryn Bigelow's cinema.
This book examines architecture, image, and media relationships as productive for architecture and architectural discourses. By arguing that the relationships between architecture and media cannot be dismissed via linear criticism of architecture and media or image, these relations are instead seen as a part of a sphere (a mediasphere) of complex relationships. In lieu of anything like a consensus on the contemporary condition of architecture (referring to the late twentieth and the twenty-first centuries), the starting point of this book is that the relationships between architecture, media, and images continue to multiply, owing to continuous technological advancements. Contemporary architecture considered in this book is related to the selected circumstances of high visibility, where architectural images are propelled into visibility and conflated with non-architectural images. This takes architecture outside of architectural-only discourse and into the public realm. By granting higher visibility to both the architectural images and architecture in the public realm, architecture can also be influenced by the various perceptions of the general public and can enter public consciousness via non-architectural media. With increased visibility, architecture’s far-reaching presence calls for more structured analysis of its nature and potential. As the analysed architecture in this book is associated with the discourses outside of architecture (some of which relate to terrorism, natural disaster, and branding and consumption), the limits of contemporary architectural discipline are questioned and extended. This book is written for academics and students in architectural history, theory, and criticism, particularly those interested in visual and media studies.
Digital media, networks and archives reimagine and revitalize individual, social and cultural memory but they also ensnare it, bringing it under new forms of control. Understanding these paradoxical conditions of remembering and forgetting through today’s technologies needs bold interdisciplinary interventions. Digital Memory Studies seizes this challenge and pioneers an agenda that interrogates concepts, theories and histories of media and memory studies, to map a holistic vision for the study of the digital remaking of memory. Through the lenses of connectivity, archaeology, economy, and archive, contributors illuminate the uses and abuses of the digital past via an array of media and topics, including television, videogames and social media, and memory institutions, network politics and the digital afterlife.
The Zen Buddhist monastery Daitokuji in Kyoto has long been revered as a cloistered meditation centre, a repository of art treasures, and a wellspring of the "Zen aesthetic." Gregory Levine's Daitokuji unsettles these conventional notions with groundbreaking inquiry into the significant and surprising visual and social identities of sculpture, painting, and calligraphy associated with this fourteenth-century monastery and its enduring monastic and lay communities. The book begins with a study of Zen portraiture at Daitokuji that reveals the precariousness of portrait likeness; the face that gazes out from an abbot's painting or statue may not be who we expect it to be or submit quietly to interpretation. By tracing the life of Daitokuji's famed statue of the chanoyu patriarch Sen no Riky-u (1522-91), which was all but destroyed by the ruler Toyotomi Hideyoshi (1537-98) but survived in Rash-omon-like narratives and reconstituted sculptural forms, Levine throws light upon the contested status of images and their mytho-poetic potential. Levine then draws from the seventeenth-century journal of K-ogetsu S-ogan, Bokuseki no utsushi, to explore practices of calligraphy connoisseurship at Daitokuji and the pivotal role played by the monastery's abbots within Kyoto art circles. The book's final section explores Daitokuji's annual airings of temple treasures not merely as a practice geared toward preservation but also as a space in which different communities vie for authority over the artistic past. An epilogue follows the peripatetic journey of the monastery's scrolls of the 500 Luohan from China to Japan, to exhibition and partial sale in the West, and back to Daitokuji. Illuminating canonical and heretofore ignored works and mining a trove of documents, diaries, and modern writings, Levine argues for the plurality of Daitokuji's visual arts and the breadth of social and ritual circumstances of art making and viewing within the monastery. This diversity encourages reconsideration of stereotyped notions of "Zen art" and offers specialists and general readers alike opportunity to explore the fertile and sometimes volatile nexus of the visual arts and religious sites in Japan.
Already in 1929, Walter Benjamin described “a one hundred per cent image-space.” Such an image space saturates our world now more than ever, constituting the visibility in which we live. The Supermarket of the Visible analyzes this space and the icons that populate it as the culmination of a history of the circulation and general commodification of images and gazes. From the first elevators and escalators (tracking shots avant la lettre) to cinema (the great conductor of gazes), all the way down to contemporary eye-tracking techniques that monitor the slightest saccades of our eyes, Peter Szendy offers an entirely novel theory of the intersection of the image and economics. The Supermarket of the Visible elaborates an economy proper to images, icons, in other words, an iconomy. Deleuze caught a glimpse of this when he wrote that “money is the back side of all the images that cinema shows and edits on the front.” Since “cinema,” for Deleuze, is synonymous with “universe,” Szendy argues that this sentence must be understood in its broadest dimension and that a reading of key works in the history of cinema allows us a unique vantage point upon the reverse of images, their monetary implications. Paying close attention to sequences in Hitchcock, Bresson, Antonioni, De Palma, and The Sopranos, Szendy shows how cinema is not a uniquely commercial art form among other, purer arts, but, more fundamentally, helps to elaborate what might be called, with Bataille, a general iconomy. Moving deftly and lightly between political economy, aesthetic theory, and popular movies and television, The Supermarket of the Visible will be a necessary book for anyone concerned with media, philosophy, politics, or visual culture.
Straight answers to every question you've ever had about how the economy works and how it affects your life In this Collector's Edition of their celebrated How an Economy Grows and Why It Crashes, Peter Schiff, economic expert and bestselling author of Crash Proof and The Real Crash, once again teams up with his brother Andrew to spin a lively economic fable that untangles many of the fallacies preventing people from really understanding what drives an economy. The 2010 original has been described as a “Flintstones” take economics that entertainingly explains the beauty of free markets. The new edition has been greatly expanded in both quantity and quality. A new introduction and two new illustrated chapters bring the story up to date, and most importantly, the book makes the jump from black and white to full and vivid color. With the help of colorful cartoon illustrations, lively humor, and deceptively simple storytelling, the Schiff's bring the complex subjects of inflation, monetary policy, recession, and other important topics in economics down to Earth. The story starts with three guys on an island who barely survive by fishing barehanded. Then one enterprising islander invents a net, catches more fish, and changes the island’s economy fundamentally. Using this story the Schiffs apply their signature take-no-prisoners logic to expose the glaring fallacies and gaping holes permeating the global economic conversation. The Collector’s Edition: Provides straight answers about how economies work, without relying on nonsensical jargon and mind-numbing doublespeak the experts use to cover up their confusion Includes a new introduction that sets the stage for developing a deeper, more practical understanding of inflation and the abuses of the monetary system Adds two new chapters that dissect the Federal Reserve’s Quantitative easing policies and the European Debt Crisis. Colorizes the original book's hundreds of cartoon illustrations. The improved images, executed by artist Brendan Leach from the original book, add new vigor to the presentation Has a larger format that has been designed to fit most coffee tables. While the story may appear simple on the surface, as told by the Schiff brothers, it will leave you with a deep understanding of How an Economy Grows and Why It Crashes.
Time and Transformation in Architecture, edited by Tuuli Lähdesmäki, approaches architecture and the built environment from an interdisciplinary point of view by emphasizing in its theoretical discussions and empirical analysis the dimensions of time, temporality, and transformation—and their relation to human experiences, behavior, and practices. The volume consists of seven chapters that explore the following questions: How do architectural ideas, ideals, and meanings emerge, develop, and transform? How is architecture manifested in relation to time, time-space, and the social dimensions it entails and produces? The volume provides both multifaceted theoretical discussions on time and temporality in architecture and empirical case studies around the globe in which these theories and conceptualizations are tested and explored. Contributors are Eiman Ahmed Elwidaa, André van Graan, June Jordaan, Joongsub Kim, Tuuli Lähdesmäki, Assumpta Nnaggenda-Musana, Sanja Rodeš and Smaranda Spânu.
The bestselling citizen's guide to economics Basic Economics is a citizen's guide to economics, written for those who want to understand how the economy works but have no interest in jargon or equations. Bestselling economist Thomas Sowell explains the general principles underlying different economic systems: capitalist, socialist, feudal, and so on. In readable language, he shows how to critique economic policies in terms of the incentives they create, rather than the goals they proclaim. With clear explanations of the entire field, from rent control and the rise and fall of businesses to the international balance of payments, this is the first book for anyone who wishes to understand how the economy functions. This fifth edition includes a new chapter explaining the reasons for large differences of wealth and income between nations. Drawing on lively examples from around the world and from centuries of history, Sowell explains basic economic principles for the general public in plain English.