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An argument for the centrality of the visual culture of waste—as seen in works by international contemporary artists—to the study of our ecological condition. Ecological crisis has driven contemporary artists to engage with waste in its most non-biodegradable forms: plastics, e-waste, toxic waste, garbage hermetically sealed in landfills. In this provocative and original book, Amanda Boetzkes links the increasing visualization of waste in contemporary art to the rise of the global oil economy and the emergence of ecological thinking. Often, when art is analyzed in relation to the political, scientific, or ecological climate, it is considered merely illustrative. Boetzkes argues that art is constitutive of an ecological consciousness, not simply an extension of it. The visual culture of waste is central to the study of the ecological condition. Boetzkes examines a series of works by an international roster of celebrated artists, including Thomas Hirschhorn, Francis Alÿs, Song Dong, Tara Donovan, Agnès Varda, Gabriel Orozco, and Mel Chin, among others, mapping waste art from its modernist origins to the development of a new waste imaginary generated by contemporary artists. Boetzkes argues that these artists do not offer a predictable or facile critique of consumer culture. Bearing this in mind, she explores the ambivalent relationship between waste (both aestheticized and reviled) and a global economic regime that curbs energy expenditure while promoting profitable forms of resource consumption.
An argument for the centrality of the visual culture of waste—as seen in works by international contemporary artists—to the study of our ecological condition. Ecological crisis has driven contemporary artists to engage with waste in its most non-biodegradable forms: plastics, e-waste, toxic waste, garbage hermetically sealed in landfills. In this provocative and original book, Amanda Boetzkes links the increasing visualization of waste in contemporary art to the rise of the global oil economy and the emergence of ecological thinking. Often, when art is analyzed in relation to the political, scientific, or ecological climate, it is considered merely illustrative. Boetzkes argues that art is constitutive of an ecological consciousness, not simply an extension of it. The visual culture of waste is central to the study of the ecological condition. Boetzkes examines a series of works by an international roster of celebrated artists, including Thomas Hirschhorn, Francis Alÿs, Song Dong, Tara Donovan, Agnès Varda, Gabriel Orozco, and Mel Chin, among others, mapping waste art from its modernist origins to the development of a new waste imaginary generated by contemporary artists. Boetzkes argues that these artists do not offer a predictable or facile critique of consumer culture. Bearing this in mind, she explores the ambivalent relationship between waste (both aestheticized and reviled) and a global economic regime that curbs energy expenditure while promoting profitable forms of resource consumption.
Can capitalism ever truly be environmentally conscious? Green Capitalism? Business and the Environment in the Twentieth Century provides a historical analysis of the relationship between business interests and environmental initiatives over the past century.
There is virtually nowhere on earth that remains untouched by plastics and the situation presents a serious threat to our natural world. Despite the magnitude of the problem, the interventions most often put in place are consumer-led and market-based and only nominally capable of addressing the issue. As the problem worsens and neoliberal ideologies limit the world’s responses to this crisis, there is a growing need for legislative frameworks that attend to the complex social and ecological issues associated with plastics. The contributors to this volume bring expertise from across academic disciplines to illustrate how plastics are produced, consumed, and discarded and to find holistic and integrated approaches that demonstrate an understanding of the wide-ranging problem. From the plasticization of earth’s oceans to the endocrine disrupting chemicals that have the potential to seriously harm life as we know it, these essays beg the question that we all must answer: what is our plastic legacy? With contributions by: Imogen E. Napper, Sabine Pahl, Richard C. Thompson, Sasha Adkins, Stephanie B. Borrelle, Jennifer Provencher, Tina Ngata, Sven Bergmann, Christina Gerhardt, Elyse Stanes, Tridibesh Dey, Mike Michael, Laura McLauchlan, Johanne Tarpgaard, Deirdre McKay, Padmapani Perez, Lei Xiaoyu, and John Holland.
“This eloquent, elegant book thoughtfully plumbs the . . . consequences of our dependence on plastics” (The Boston Globe, A Best Nonfiction Book of 2011). From pacemakers to disposable bags, plastic built the modern world. But a century into our love affair, we’re starting to realize it’s not such a healthy relationship. As journalist Susan Freinkel points out in this eye-opening book, we’re at a crisis point. Plastics draw on dwindling fossil fuels, leach harmful chemicals, litter landscapes, and destroy marine life. We’re drowning in the stuff, and we need to start making some hard choices. Freinkel tells her story through eight familiar plastic objects: a comb, a chair, a Frisbee, an IV bag, a disposable lighter, a grocery bag, a soda bottle, and a credit card. With a blend of lively anecdotes and analysis, she sifts through scientific studies and economic data, reporting from China and across the United States to assess the real impact of plastic on our lives. Her conclusion is severe, but not without hope. Plastic points the way toward a new creative partnership with the material we love, hate, and can’t seem to live without. “When you write about something so ubiquitous as plastic, you must be prepared to write in several modes, and Freinkel rises to this task. . . . She manages to render the most dull chemical reaction into vigorous, breathless sentences.” —SF Gate “Freinkel’s smart, well-written analysis of this love-hate relationship is likely to make plastic lovers take pause, plastic haters reluctantly realize its value, and all of us understand the importance of individual action, political will, and technological innovation in weaning us off our addiction to synthetics.” —Publishers Weekly “A compulsively interesting story. Buy it (with cash).” —Bill McKibben, author of The End of Nature “What a great read—rigorous, smart, inspiring, and as seductive as plastic itself.” —Karim Rashid, designer
Eli Rubin takes an innovative approach to consumer culture to explore questions of political consensus and consent and the impact of ideology on everyday life in the former East Germany. Synthetic Socialism explores the history of East Germany through the production and use of a deceptively simple material: plastic. Rubin investigates the connections between the communist government, its Bauhaus-influenced designers, its retooled postwar chemical industry, and its general consumer population. He argues that East Germany was neither a totalitarian state nor a niche society but rather a society shaped by the confluence of unique economic and political circumstances interacting with the concerns of ordinary citizens. To East Germans, Rubin says, plastic was a high-technology material, a symbol of socialism's scientific and economic superiority over capitalism. Most of all, the state and its designers argued, plastic goods were of a particularly special quality, not to be thrown away like products of the wasteful West. Rubin demonstrates that this argument was accepted by the mainstream of East German society, for whom the modern, socialist dimension of a plastics-based everyday life had a deep resonance.
Believe in climate change. Or don't. It doesn't matter. But you'd better understand this: the best route to rebuilding our economy, our cities, and our job markets, as well as assuring national security, is doing precisely what you would do if you were scared to death about climate change. Whether you're the head of a household or the CEO of a multinational corporation, embracing efficiency, innovation, renewables, carbon markets, and new technologies is the smartest decision you can make. It's the most profitable, too. And, oh yes—you'll help save the planet. In Climate Capitalism, L. Hunter Lovins, coauthor of the bestselling Natural Capitalism, and the sustainability expert Boyd Cohen prove that the future of capitalism in a recession-riddled, carbon-constrained world will be built on innovations that cutting-edge leaders are bringing to the market today. These companies are creating jobs and driving innovation. Climate Capitalism delivers hundreds of indepth case studies of international corporations, small businesses, NGOs, and municipalities to prove that energy efficiency and renewable resources are already driving prosperity. While highlighting business opportunities across a range of sectors—including energy, construction, transportation, and agriculture technologies—Lovins and Cohen also show why the ex–CIA director Jim Woolsey drives a solar-powered plugin hybrid vehicle. His bumper sticker says it all: "Osama bin Laden hates my car." Corporate executives, entrepreneurs, environmentalists, and concerned citizens alike will find profitable ideas within these pages. In ten information-packed chapters, Climate Capitalism gives tangible examples of early adopters across the globe who see that the low-carbon economy leads to increased profits and economic growth. It offers a clear and concise road map to the new energy economy and a cooler planet.
Waste is one of the planet’s last great resource frontiers. From furniture made from up-cycled wood to gold extracted from computer circuit boards, artisans and multinational corporations alike are finding ways to profit from waste while diverting materials from overcrowded landfills. Yet beyond these benefits, this “new” resource still poses serious risks to human health and the environment. In this unique book, Kate O’Neill traces the emergence of the global political economy of wastes over the past two decades. She explains how the emergence of waste governance initiatives and mechanisms can help us deal with both the risks and the opportunities associated with the hundreds of millions – possibly billions – of tons of waste we generate each year. Drawing on a range of fascinating case studies to develop her arguments, including China’s role as the primary recipient of recyclable plastics and scrap paper from the Western world, “Zero-Waste” initiatives, the emergence of transnational waste-pickers’ alliances, and alternatives for managing growing volumes of electronic and food wastes, O’Neill shows how waste can be a risk, a resource, and even a livelihood, with implications for governance at local, national, and global levels.
In the United States, we now take our ability to pay with plastic for granted. In other parts of the world, however, the establishment of a "credit-card economy" has not been easy. In countries without a history of economic stability, how can banks decide who should be given a credit card? How do markets convince people to use cards, make their transactions visible to authorities, assume the potential risk of fraud, and pay to use their own money? Why should merchants agree to pay extra if customers use cards instead of cash? In Plastic Money, Akos Rona-Tas and Alya Guseva tell the story of how banks overcame these and other quandaries as they constructed markets for credit cards in eight postcommunist countries. We know how markets work once they are built, but this book develops a unique framework for understanding how markets are engineered from the ground up—by selecting key players, ensuring cooperation, and providing conditions for the valuation of a product. Drawing on extensive interviews and fieldwork, the authors chronicle how banks overcame these hurdles and generated a desire for their new product in the midst of a transition from communism to capitalism.
"Citizen Coke demostrate[s] a complete lack of understanding about…the Coca-Cola system—past and present." —Ted Ryan, the Coca-Cola Company By examining “the real thing” ingredient by ingredient, this brilliant history shows how Coke used a strategy of outsourcing and leveraged free public resources, market muscle, and lobbying power to build a global empire on the sale of sugary water. Coke became a giant in a world of abundance but is now embattled in a world of scarcity, its products straining global resources and fueling crises in public health.