£44.99
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This collection explores the potential of the collective as a structure linking creativity, social change, and politics. Bringing together practitioners, historians, and theorists, it examines how design practices like authorship and agency are being re-evaluated.
The rise of social networking and open-source technology, the return of community-focussed activities (e.g. gardens, knitting groups, food cooperatives) and creative collectives across the fields of design and the visual arts have reawakened the discourse around human capital, flat structures and collectives as a means for ‘making’ the things of everyday life. As the essays presented in this collection illustrate, there is an emerging field of discourse about the potential of the collective as an organising and generative community structure that links creativity, social change and politics. Furthermore it is clear that in this developing context there are a number of issues central to design practice, such as authorship, agency and aesthetics that are in the process of re-evaluation and critique. Bringing together views of practitioners, historians and theorists, this volume examines the etymology, boundaries and practices that the idea of the collective affords. It is broadly organised into sections on architecture, digital technologies and counter-cultural practices and includes historical and contemporary accounts of design collectives from a range of disciplinary viewpoints.
Millais exposes the myths that surround Le Corbusier, detailing the endless failures of his proposals and his projects and arguing that his influence on architecture was disastrous, as traditional buildings were destroyed and replaced by featureless boxes of varying sizes.
This collection of essays explores the enduring afterlife of medieval art and architecture. It examines how medieval works were preserved, restored, and appropriated from the 16th to 20th centuries to shape modern political, religious, and cultural practices.
This ground-breaking work presents perspectives on post-apartheid dance in South Africa. Reflecting a multiplicity of voices, it juxtaposes contentious issues to draw attention to the complexity of dancing on the ashes of apartheid.
This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists, and represents a major contribution to the field of art history.
Most of the previous scholarship on Apulian red-figure pottery has focused on the cataloguing of collections and stylistic matters. Herring takes a different approach by identifying patterns in the decoration of Apulian vases that cast light on the choices made by vase-producers.
Explore the history of Chinese food and drink through its utensils, ingredients, and dining practices. This collection of essays examines items from Han jade goblets to 18th century imperial tea houses to reveal the evolution of culinary concepts and food cultures in China.
In autobiographical film, the filmmaker—as maker and subject—acts as a cultural guide. This book explores how memory is evoked through hybrid strategies like fictional enactment, and charts the history of British independent filmmaking from the 1970s to the age of new media.
From mythological satyrs and wicked imperial stepmothers to misbehaving students and obstreperous old Athenians, this volume investigates attitudes to age in the ancient world, exploring intergenerational relationships and the intersections with gender, class and status.
Commemoration doesn’t just capture history—it creates new narratives that reflect our current values. As our views on race, gender, and class change, so do our commemorations. How do we repair the damage of the past and name forgotten histories?
Based on ideas discussed within the framework of the 2016 International Conference on Typography and Visual Communication (ICTVC), this anthology investigates both current and future challenges and priorities in the field of design for visual communication.
