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SIZES: 80-100-110-120mm CLAMP DIAMETER: 26,0 mm with reduction to 25.4mm FORK CLAMP DIAMETER: 28,6 mm (1 1/8") ANGLE: 84o / 96o (80) - 73o/107o (100-110-120mm) WEIGHT: 168 g / 110 MATERIAL: AL 6061 T6 FINISHING: Matte black anodised SIZES: 80-100-110-120mm CLAMP DIAMETER: 26,0 mm with reduction to 25.4mm FORK CLAMP DIAMETER: 28,6 mm (1 1/8") ANGLE: 84o / 96o (80) - 73o/107o (100-110-120mm) WEIGHT: 168 g / 110 MATERIAL: AL 6061 T6 FINISHING: Matte black anodised

Material: AL 6061 T6, design: shotpeened - matt black anodised, Bolts: 12.9 chrome-plated steel Front M5 - Rear M6 Clamp diameter: 31.8 mm Fork clamp diameter: 28.6 mm (1 1/8), angle: 65 degrees. Sizes: 80-100-110-120-130mm Weight: 180 g

Box contents: straps only, without pedals

Cinelli "Pista" stem Available sizes: 80 mm - 100 mm - 110 mm Colour: black Material: aluminium, angle: 65°/25° Clamp diameter: 31.8 mm/diameter fork mount: 28.6 mm (1-1/8 inch)

When we encounter typography, how do we know what it means? How is the tone of type influenced by the way it is set, when it is made, and where it exists? Considering the social, spatial, and temporal contexts of visual language, this text informs and inspires students, educators, and professionals looking to engage more deeply with the letterforms they use and see. Featuring diverse typographic works, “closer looks”, and interviews with practicing artists and designers, Giving Type Meaning serves to inform how and why we understand what type communicates. The book includes: - The importance and impact of cultural and social context across the expanded field of art and design - How to use visual, physical, and gestural space to inform meaning - The ways time impacts type, such as historical references, recontextualizations, and the use of time as medium - A range of global examples, including Lushootseed language letterforms (Lushootseed Sulad by Juliet Shen), Arabic calligraphy and type design (Regard Each Other as Brothers by Josh Berer, Mirsaal by Rana Abou Rjeily), American civil rights inspired type (Martin by Tré Seals), Italian concrete poetry (Storia Del Monumento by Mirella Bentivoglio), and animated Chinese characters (Motion Type Project by Ting-An Ho)

Soft airtight padded micro spheres improve perspiration wicking and comfort Special removable adhesive tape Soft airtight padded micro spheres improve perspiration wicking and comfort Special removable adhesive tape

Objects are all around us – and images of objects, advertisements for objects. Things are no longer merely purely physical or economic entities: within the visual economy of advertising, they are inescapably moral. Any object, regardless of its nature, can for at least a moment aspire to be “good,” can become not just an object of value but a complex of possible happiness, a moral source of perfection for any one of us. Our relation to things, Coccia, argues in this provocative book, is what makes us human, and the object world must be conceived as an ultimate artifact in order for it to be the site of what the philosophical tradition has considered "the good." Thinking a radical political praxis against a facile materialist critique of things, Coccia shows how objects become the medium through which a city enunciates its ethos, making available an ethical life to those who live among them. When we acknowledge that our notion of “the good” resides within a world of things, we must grant that in advertising, humans have revealed themselves as organisms that are ethically inseparable from the very things they produce, exchange, and desire. In the advertising imaginary, to be human is to be a moral cyborgs whose existence attains ethical perfection only via the universe of things. The necessary alienation which commodities cause and express is moral rather than economic or social; we need our own products not just to survive biologically or to improve the physical conditions of our existence, but to live morally. Ultimately, Coccia’s provocative book offers a radically political rethinking of the power of images. The problem of contemporary politics is not the anesthetization of words but the excess power we invest in them. Within images, we already live in another form of political life, which has very little to do with the one invented and formalized by the ancient and modern legal tradition. All we need to do is to recognize it. Advertising and fashion are just the primitive, sometimes grotesque, but ultimately irrepressible prefiguration of the new politics to come.

Objects are all around us - and images of objects, advertisements for objects. Things are no longer merely purely physical or economic entities: within the visual economy of advertising, they are inescapably moral. Any object, regardless of its nature, can for at least a moment aspire to be 'good,' can become not just an object of value but a complex of possible happiness, a moral source of perfection for any one of us.Our relation to things, Coccia, argues in this provocative book, is what makes us human, and the object world must be conceived as an ultimate artifact in order for it to be the site of what the philosophical tradition has considered 'the good.' Thinking a radical political praxis against a facile materialist critique of things, Coccia shows how objects become the medium through which a city enunciates its ethos, making available an ethical life to those who live among them.When we acknowledge that our notion of the good resides within a world of things, we must grant that in advertising, humans have revealed themselves as organisms that are ethically inseparable from the very things they produce, exchange, and desire. In the advertising imaginary, to be human is to be a moral cyborgs whose existence attains ethical perfection only via the universe of things. The necessary alienation which commodities cause and express is moral rather than economic or social; we need our own products not just to survive biologically or to improve the physical conditions of our existence, but to live morally. Ultimately, Coccia s provocative book offers a radically political rethinking of the power of images. The problem of contemporary politics is not the anesthetization of words but the excess power we invest in them. Within images, we already live in another form of political life, which has very little to do with the one invented and formalized by the ancient and modern legal tradition. All we need to do is to recognize it. Advertising and fashion are just the primitive, sometimes grotesque, but ultimately irrepressible prefiguration of the new politics to come.

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High content, natural cork based on polyurethane with a back/centre adhesive strip for easy installation Cinelli Embossed logo on the entire band length Two-tone combination Includes end plugs and finishing tape

Very elastic Very comfortable Excellent shock absorption thanks to Vibra Absorb Gel interior Self-adhesive and easy to apply Heat resistant (> 60°C) Tear-resistant and extra soft

We barely talk about them and seldom know their names. Philosophy has always overlooked them; even biology considers them as mere decoration on the tree of life. And yet plants give life to the Earth: they produce the atmosphere that surrounds us, they are the origin of the oxygen that animates us. Plants embody the most direct, elementary connection that life can establish with the world. In this highly original book, Emanuele Coccia argues that, as the very creator of atmosphere, plants occupy the fundamental position from which we should analyze all elements of life. From this standpoint, we can no longer perceive the world as a simple collection of objects or as a universal space containing all things, but as the site of a veritable metaphysical mixture. Since our atmosphere is rendered possible through plants alone, life only perpetuates itself through the very circle of consumption undertaken by plants. In other words, life exists only insofar as it consumes other life, removing any moral or ethical considerations from the equation. In contrast to trends of thought that discuss nature and the cosmos in general terms, Coccia’s account brings the infinitely small together with the infinitely big, offering a radical redefinition of the place of humanity within the realm of life.

We barely talk about them and seldom know their names. Philosophy has always overlooked them; even biology considers them as mere decoration on the tree of life. And yet plants give life to the Earth: they produce the atmosphere that surrounds us, they are the origin of the oxygen that animates us. Plants embody the most direct, elementary connection that life can establish with the world. In this highly original book, Emanuele Coccia argues that, as the very creator of atmosphere, plants occupy the fundamental position from which we should analyze all elements of life. From this standpoint, we can no longer perceive the world as a simple collection of objects or as a universal space containing all things, but as the site of a veritable metaphysical mixture. Since our atmosphere is rendered possible through plants alone, life only perpetuates itself through the very circle of consumption undertaken by plants. In other words, life exists only insofar as it consumes other life, removing any moral or ethical considerations from the equation. In contrast to trends of thought that discuss nature and the cosmos in general terms, Coccia s account brings the infinitely small together with the infinitely big, offering a radical redefinition of the place of humanity within the realm of life.

We barely talk about them and seldom know their names. Philosophy has always overlooked them; even biology considers them as mere decoration on the tree of life. And yet plants give life to the Earth: they produce the atmosphere that surrounds us, they are the origin of the oxygen that animates us. Plants embody the most direct, elementary connection that life can establish with the world. In this highly original book, Emanuele Coccia argues that, as the very creator of atmosphere, plants occupy the fundamental position from which we should analyze all elements of life. From this standpoint, we can no longer perceive the world as a simple collection of objects or as a universal space containing all things, but as the site of a veritable metaphysical mixture. Since our atmosphere is rendered possible through plants alone, life only perpetuates itself through the very circle of consumption undertaken by plants. In other words, life exists only insofar as it consumes other life, removing any moral or ethical considerations from the equation. In contrast to trends of thought that discuss nature and the cosmos in general terms, Coccia’s account brings the infinitely small together with the infinitely big, offering a radical redefinition of the place of humanity within the realm of life.

Jean Genet er mest kendt som forfatteren der i 1940’erne skrev en række skandaløse romaner, som hyldede forbrydelsen, forræderiet og homoseksualiteten. Efter at have opgivet romankunsten fornyede han i 1950’erne teaterkunsten med sine skuespil. Men ved siden af disse i dag klassiske romaner og skuespil udgav Genet, fra 1949 og frem til sin død, en række banebrydende essays og artikler om kunst og politik. Det kriminelle barn samler et bredt udvalg af disse tekster. De handler om vidt forskellige emner: børnefængsler, linedanserkunst, Rembrandt, teaterets arkitektur, Black Panther Party, palæstinensernes modstandskamp, Rote Armee Fraktion, katedralen i Chartres, flygtningelejre m.m. Foruden deres indiskutable relevans i dag, er det også tekster som viser Genets stilistiske bredde. De bevæger sig i grænselandet mellem poesi og aktivisme: Her findes alt fra meditationer over kunstnerisk skabelse til sproglige eksperimenter, alt fra kritisk refleksion til politisk agitation og rystende vidnesbyrd. Jean Genet (1910-1986) var en fransk romanforfatter, dramatiker og essayist. Fra 1968 og frem involverede han sig aktivistisk i nogle af periodens vigtigste politiske spørgsmål.

We like to imagine ourselves as rational beings who think and speak, yet to live means first and foremost to look, taste, feel, or smell the world around us. But sensibility is not just a faculty: We are sensible objects both to ourselves and to others, and our life is through and through a sensible life. This book, now translated into five languages, rehabilitates sensible existence from its marginalization at the hands of modern philosophy, theology, and politics. Coccia begins by defining the ontological status of images. Not just an internal modification of our consciousness, an image has an intermediate ontological status that differs from that of objects or subjects. The book’s second part explores our interactions with images in dream, fashion, and biological facts like growth and generation. Our life, Coccia argues, is the life of images.

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I Planternes liv – blandingens metafysik foreslår Emanuele Coccia en fornyet kosmologi og naturfilosofi. Naturens væsner, der længe har været forbeholdt naturvidenskaberne, placeres i hjertet af human- og samfundsvidenskaberne, og den økologiske krise er først og fremmest et æstetisk problem, her forstået som et spørgsmål om sensibilitet, perception og repræsentation. Her ligger en af nøglerne til at forstå planternes liv og deres konceptuelle univers. Resultatet af denne hybride analytiske angrebsvinkel er en række af de mest originale, kraftfulde idéer inden for moderne økologisk tænkning, der tager form af en fornyet naturfilosofi. Bogen udkom først på fransk med titlen La vie des plantes i 2016, er siden oversat til adskillige sprog og har fra såvel filosofiske fagfæller som den bredere offentlighed høstet stor anerkendelse for sine stilistiske greb og begrebslige originalitet. “ Back to animals! Back to mushrooms! And now back to plants! It is with plants thatthis marvellous, witty, and immensely literate book wants us, the human readers, toget acquainted again. And, of course, with plants it is actually toward the sun that we are reoriented. Philosophy is on the move again, not exactly forward but downward,giving a completely different meaning to what counts as a foundation to thought.” Bruno Latour “The view of life as interdependence is a particularly affecting and relevant way to think about living and coping in the Anthropocene, when the ways that humans affect the literal composition of the atmosphere has become the existential question of our time.” The Nation Emanuele Coccia er lektor på École des Hautes Études en SciencesSociales i Paris.