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Intimate Bureaucracies is a history from the futurelooking backward at the present moment as a turning point. Our systems of organization and control appear unsustainable and brutal, and we are feeling around in the dark for alternatives. Using experiments in social organization in downtown New York City, and other models of potential alternative social organizations, this manifesto makes a call to action to study and build sociopoetic systems. One alternative system, the Occupy movement, suggests lessons beyond the specific historical moment, demands, and goals. This manifesto suggests that the organization and communication systems of Occupying encampments represent important necessities, models, goals, and demands, as well as an intimate bureaucracy that is a paradoxical mix of artisanal production, mass-distribution techniques, and a belief in the democratizing potential of social media.
Critique has long been a central concept within art practice and theory. Since the emergence of Conceptual Art, artists have been expected by critics, curators, and art school faculty to focus their work on exposing and debunking ideologies of power and domination. Recently, however, the effectiveness of cultural critique has come into question. The appearance of concepts such as the "speculative," the "reparative," and the "constructive" suggests an emerging postcritical paradigm. Beyond Critique takes stock of the current discourse around this issue. With some calling for a renewed criticality and others rejecting the model entirely, the book's contributors explore a variety of new and recently reclaimed criteria for contemporary art and its pedagogy. Some propose turning toward affect and affirmation; others seek to reclaim such allegedly discredited concepts as intimacy, tenderness, and spirituality. With contributions from artists, critics, curators and historians, this book provides new ways of thinking about the historical role of critique while also exploring a wide range of alternative methods and aspirations. Beyond Critique will be a crucial tool for students and instructors who are seeking to think and work beyond the critical.
The experimental art and poetry of the last half of the twentieth century offers a glimpse of the emerging networked culture that electronic devices will make omnipresent. Craig J. Saper demarcates this new genre of networked art, which uses the trappings of bureaucratic systems - money, logos, corporate names, stamps - to create intimate situations among the participants. Saper explains how this genre developed from post-World War II conceptual art, including periodicals as artworks in themselves; lettrist, concrete, and process poetry; Bauhaus versus COBRA; Fluxus publications, kits, and machines; mail art and on-sendings. The encyclopedic scope of the book includes discussions of artists from J. Beuys to J. S. G. Boggs, and Bauhaus's Max Bill to Anna Freud Banana. -- Publisher.
Publisher Description
This book sets forth a pedagogy for renewing the liberal arts by combining critical thinking, media activism, and design thinking. Using the StudioLab approach, the author seeks to democratize the social and technical practices of digital culture just as nineteenth century education sought to democratize literacy. This production of transmedia knowledge—from texts and videos to comics and installations—moves students between seminar, studio, lab, and field activities. The book also wrestles with the figure of Plato and the very medium of knowledge to re-envision higher education in contemporary societies, issuing a call for community engagement as a form of collective thought-action.
How the queer correspondence art of Ray Johnson disrupted art world conventions and anticipated today’s highly networked culture Once regarded as “New York’s most famous unknown artist,” Ray Johnson was a highly visible outlier in the art world, his mail art practice reflecting the changing social relations and politics of queer communities in the 1960s. A vital contribution to the growing scholarship on this enigmatic artist, Queer Networks analyzes how Johnson’s practice sought to undermine the dominant mechanisms of the art market and gallery system in favor of unconventional social connections. Utilizing the postal service as his primary means of producing and circulating art, Johnson cultivated an international community of friends and collaborators through which he advanced his idiosyncratic body of work. Applying both queer theory and network studies, Miriam Kienle explores how Johnson’s radical correspondence art established new modes of connectivity that fostered queer sensibilities and ran counter to the conventional methods by which artists were expected to develop their reputation. While Johnson was significantly involved with the Pop, conceptual, and neo-Dada art movements, Queer Networks crucially underscores his resistance to traditional art historical systems of categorization and their emphasis on individual mastery. Highlighting his alternative modes of community building and playful antagonism toward art world protocols, Kienle demonstrates how Ray Johnson’s correspondence art offers new ways of envisioning togetherness in today’s highly commodified and deeply networked world.
Rethinks how bureaucracy shapes foreign policy - miscalculation is less likely when political leaders can extract quality information from the bureaucracy.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1983.
“Professor Samuel Krislov’s Representative Bureaucracy remains among the most important and enduring books in the field of public administration and its intersection with political science. It takes the kernel of the idea, inchoately introduced in J. Donald Kingsley’s 1944 book by the same title, that public bureaucracies can be representative political institutions and it develops an overall analytic framework with empirically testable propositions that has served subsequent generations scholars very well. So well, in fact, that as the literature on representative bureaucracy blossomed, these propositions have become so ingrained that many younger scholars are unaware of their initial formulation and roots. That is one reason why the republication of this volume now is not only appropriate, but a critical step toward more tightly organizing the vast literature that it arguably spawned into a comprehensive empirically-based theory integrating all facets of the study of representative bureaucracy…. Krislov entered into this contentiousness [over affirmative action and agency socialization] with unusual balance, sophistication, and nuance—and substantial success in advancing our thinking about how public bureaucracies can and cannot be representative.” — David H. Rosenbloom Distinguished Professor of Public Administration, American University, Washington D.C. (from the new Foreword)