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"This book is about the many approaches to the creation, dissemination and maintenance of alternative, "bottom-up" models for social or economic organisation, and the practical and theoretical implications, consequences and possibilities of these self-organised structures."--Publisher's website.
This book critically examines the philosophy of the term ‘transgression’ and how it shapes the utopian vision of contemporary urban design scenarios. The aim of this book is to provide scholarly yet accessible graphic novel illustrations to inform narratives of urban manifestos. Through four select case studies from the UK, Cyprus and Germany, the book highlights the paradoxes and contradictions in architecture and provides detailed evaluation of the limits and contemporary forms of sustainable urban regeneration. The book proposes an ‘utopian urban vision’ approach to social, political and cultural relations, trends and tensions – both locally and globally – and seeks to inspire an awakening in architectural discourse. The book argues that the philosophical undermining of transgression is the result of a phenomenon from a different perspective – its philosophical background, social construction, experimental research process and design implications on the city. As such, the book provides a critical examination of how architectural design interventions contribute to sustainable urban regeneration and gentrification and can impact local communities. This book provides a significant contribution to both undergraduate and postgraduate students, as well as early career researchers working in architecture, planning and sustainable urban design. It offers effective guidance on adopting the state-of-the-art graphical illustrations into their own design projects, while considering contradictions between architectural discourse and the philosophy of transgression.
Catalog of an exhibition held at The Museum of Modern Art, New York, Feb. 19-May 14, 2012.
After the Great Refusal offers a Western Marxist reading of contemporary art focusing on the continued presence (or absence) of the avant-garde’s transgressive impulse. Taking art’s ability to contribute to a potential radical social transformation as its point of departure, Mikkel Bolt Rasmussen' analyses the relationship between the current neoliberal hegemony and contemporary art, including relational aesthetics and interventionist art, new institutionalism and post-modern architecture. '...a trenchant critique of neoliberal domination of contemporary art.' Gene Ray, author of Terror and the Sublime in Art and Critical Theory
In the 1970s, Yugoslavia emerged as a dynamic environment for conceptual and performance art. At the same time, it pursued its own form of political economy of socialist self-management. Alienation Effects argues that a deep relationship existed between the democratization of the arts and industrial democracy, resulting in a culture difficult to classify. The book challenges the assumption that the art emerging in Eastern Europe before 1989 was either “official” or “dissident” art; and shows that the break up of Yugoslavia was not a result of “ancient hatreds” among its peoples but instead came from the distortion and defeat of the idea of self-management. The case studies include mass performances organized during state holidays; proto-performance art, such as the 1954 production of Waiting for Godot in a former concentration camp in Belgrade; student demonstrations in 1968; and body art pieces by Gina Pane, Joseph Beuys, Marina Abramovic, and others. Alienation Effects sheds new light on the work of well-known artists and scholars, including early experimental poetry by Slavoj Žižek, as well as performance and conceptual artists that deserve wider, international attention.
From Francis Alÿs and Ursula Biemann to Vivan Sundaram, Allora & Calzadilla, and the Center for Urban Pedagogy, some of the most compelling artists today are engaging with the politics of land use, including the growth of the global economy, climate change, sustainability, Occupy movements, and the privatization of public space. Their work pivots around a set of evolving questions: In what ways is land, formed over the course of geological time, also contemporary and formed by the conditions of the present? How might art contribute to the expansion of spatial and environmental justice? Editors Emily Eliza Scott and Kirsten Swenson bring together a range of international voices and artworks to illuminate this critical mass of practices. One of the first comprehensive treatments of land use in contemporary art, Critical Landscapes skillfully surveys the stakes and concerns of recent land-based practices, outlining the art historical contexts, methodological strategies, and geopolitical phenomena. This cross-disciplinary collection is destined to be an essential reference not only within the fields of art and art history, but also across those of cultural geography, architecture and urban planning, environmental history, and landscape studies.
This is an introduction to the secrets of Urban Design Management (UDM). The book examines the roles of the players involved in land-use projects and describes good collaborative methods of practice in project-based urban design and planning, putting emphasis on the creative co-operative skills and the wide knowledge of the participants in a working group. The role of the architect is examined in relation to design, planning and project management with particular emphasis on collaboration and negotiation skills. Specific issues considered include: The make-up of a good project team Ways to make the project team function together Objectives and benefits of project-orientated planning The need to take local characteristics into account in project-orientated planning The preparation required for a co-operative planning process and how initial information can be collected and used How to define project content, and outlining the project itself Partner-specific strategies Urban Design Management contains international examples and many diagrams and photographs, making it a useful and accessible guide for all built environment professionals working in the public realm and those studying architecture, urban design and planning at a graduate level.
The work of art's mattering and materialization in a globalized world, with close readings of works by Takahashi Murakami, Andreas Gursky, Thomas Hirschhorn, and others. It may be time to forget the art world—or at least to recognize that a certain historical notion of the art world is in eclipse. Today, the art world spins on its axis so quickly that its maps can no longer be read; its borders blur. In Forgetting the Art World, Pamela Lee connects the current state of this world to globalization and its attendant controversies. Contemporary art has responded to globalization with images of movement and migration, borders and multitudes, but Lee looks beyond iconography to view globalization as a world process. Rather than think about the “global art world” as a socioeconomic phenomenon, or in terms of the imagery it stages and sponsors, Lee considers “the work of art's world” as a medium through which globalization takes place. She argues that the work of art is itself both object and agent of globalization. Lee explores the ways that art actualizes, iterates, or enables the processes of globalization, offering close readings of works by artists who have come to prominence in the last two decades. She examines the “just in time” managerial ethos of Takahashi Murakami; the production of ethereal spaces in Andreas Gursky's images of contemporary markets and manufacture; the logic of immanent cause dramatized in Thomas Hirschhorn's mixed-media displays; and the “pseudo-collectivism” in the contemporary practice of the Atlas Group, the Raqs Media Collective, and others. To speak of “the work of art's world,” Lee says, is to point to both the work of art's mattering and its materialization, to understand the activity performed by the object as utterly continuous with the world it at once inhabits and creates.
What are the principles that keep our society together? This question is even more difficult to answer than the long-standing question, what are the forces that keep our world together. However, the social challenges of humanity in the 21st century ranging from the financial crises to the impacts of globalization, require us to make fast progress in our understanding of how society works, and how our future can be managed in a resilient and sustainable way. This book can present only a few very first steps towards this ambitious goal. However, based on simple models of social interactions, one can already gain some surprising insights into the social, ``macro-level'' outcomes and dynamics that is implied by individual, ``micro-level'' interactions. Depending on the nature of these interactions, they may imply the spontaneous formation of social conventions or the birth of social cooperation, but also their sudden breakdown. This can end in deadly crowd disasters or tragedies of the commons (such as financial crises or environmental destruction). Furthermore, we demonstrate that classical modeling approaches (such as representative agent models) do not provide a sufficient understanding of the self-organization in social systems resulting from individual interactions. The consideration of randomness, spatial or network interdependencies, and nonlinear feedback effects turns out to be crucial to get fundamental insights into how social patterns and dynamics emerge. Given the explanation of sometimes counter-intuitive phenomena resulting from these features and their combination, our evolutionary modeling approach appears to be powerful and insightful. The chapters of this book range from a discussion of the modeling strategy for socio-economic systems over experimental issues up the right way of doing agent-based modeling. We furthermore discuss applications ranging from pedestrian and crowd dynamics over opinion formation, coordination, and cooperation up to conflict, and also address the response to information, issues of systemic risks in society and economics, and new approaches to manage complexity in socio-economic systems. Selected parts of this book had been previously published in peer reviewed journals.
Tracey Warr’s art texts have been developed as an ‘embedded’ writer, writing with rather than about artists. Throughout her various modes of art writing, she argues against binaries and focuses on the stream of consciousness, the more than human, and remoteness. Her essays tangle with punk art, art and ecology, endurance art, performance art, site-specific art, and women’s art. Warr’s writing engages with the making processes of contemporary artists, including Marina Abramovic, Ackroyd and Harvey, Tine Bech, Brook and Black, Bruce Gilchrist, Marcus Coates, Elpida Hadzi-Vasileva, London Fieldworks, Hayley Newman, Optik, Alan Smith, Emily Speed, Christian Thompson, James Turrell, Urbonas Studio, and more.