19 products were found matching your search for Disjunction in 1 shops:

A collection of essays originally published 1975-91 by renowned practicing and theoretical architect Tschumi, including a number of his seminal writings. Dismissing both modernist ideology and postmodern nostalgia, he says buildings should reflect the discontinuity and heterogeneity of the immediate culture. No index. Annotation copyright Book News, Inc. Portland, Or.

In a series of reflective essays, the Mexican-born Nobel laureate shares his observations on the complexities of human nature, the duality of the divine and the demonic, asceticism, eroticism, and comparisons of civilizations. Reprint.

A collection of essays originally published 1975-91 by renowned practicing and theoretical architect Tschumi, including a number of his seminal writings. Dismissing both modernist ideology and postmodern nostalgia, he says buildings should reflect the discontinuity and heterogeneity of the immediate culture. No index. Annotation copyright Book News, Inc. Portland, Or.

Text clean and tight; 8vo 8" - 9" tall; 144 pages

Insurgent citizenships have arisen in cities around the world. This book examines the insurgence of democratic citizenship in the urban peripheries of São Paulo, Brazil, its entanglement with entrenched systems of inequality, and its contradiction in violence. James Holston argues that for two centuries Brazilians have practiced a type of citizenship all too common among nation-states--one that is universally inclusive in national membership and massively inegalitarian in distributing rights and in its legalization of social differences. But since the 1970s, he shows, residents of Brazil's urban peripheries have formulated a new citizenship that is destabilizing the old. Their mobilizations have developed not primarily through struggles of labor but through those of the city--particularly illegal residence, house building, and land conflict. Yet precisely as Brazilians democratized urban space and achieved political democracy, violence, injustice, and impunity increased dramatically. Based on comparative, ethnographic, and historical research, Insurgent Citizenship reveals why the insurgent and the entrenched remain dangerously conjoined as new kinds of citizens expand democracy even as new forms of violence and exclusion erode it. Rather than view this paradox as evidence of democratic failure and urban chaos, Insurgent Citizenship argues that contradictory realizations of citizenship characterize all democracies--emerging and established. Focusing on processes of city- and citizen-making now prevalent globally, it develops new approaches for understanding the contemporary course of democratic citizenship in societies of vastly different cultures and histories.

Paz, Octavio; Tr. By Helen R. Lane, Conjunctions And Disjunctions

Avant-garde theorist and architect Bernard Tschumi is equally well known for his writing and his practice. Architecture and Disjunction, which brings together Tschumi's essays from 1975 to 1990, is a lucid and provocative analysis of many of the key issues that have engaged architectural discourse over the past two decades―from deconstructive theory to recent concerns with the notions of event and program. The essays develop different themes in contemporary theory as they relate to the actual making of architecture, attempting to realign the discipline with a new world culture characterized by both discontinuity and heterogeneity. Included are a number of seminal essays that incited broad attention when they first appeared in magazines and journals, as well as more recent and topical texts.Tschumi's discourse has always been considered radical and disturbing. He opposes modernist ideology and postmodern nostalgia since both impose restrictive criteria on what may be deemed "legitimate" cultural conditions. He argues for focusing on our immediate cultural situation, which is distinguished by a new postindustrial "unhomeliness" reflected in the ad hoc erection of buildings with multipurpose programs. The condition of New York and the chaos of Tokyo are thus perceived as legitimate urban forms.

The work of Jennie C. Jones (born 1968) spans multiple mediums, from paintings, sculptures and works on paper to audio collages and immersive sound installations. Jones employs the visual languages of abstraction and minimalism to draw out the parallels and disjunctions between the history of modernism and the history of African American music, particularly jazz. This volume documenting the artist’s midcareer survey at Contemporary Arts Museum Houston includes many of her best-known works alongside new paintings and a site-specific installation. The book, whose stunning design references the formal qualities of Jones’ work, includes an extensive plate selection alongside essays by Valerie Cassel Oliver, Hilton Als and George Lewis, and an interview between Jones and art historian Huey Copeland.

Through a set of theoretical drawings developed between 1976 and 1981. Bernard Tschumi argues that the disjunction between spaces and their use, objects and events, being and meaning is no accident today. But when this disjunction becomes an architectural confrontation, a new relation of pleasure and violence inevitably occurs. 'They found the Transcripts by accident ... a lifetime's worth of urban pleasures - pleasures that they had no intention of giving up. So when she threatened to run and tell the authorities, they had no alternative but to stop her. And that's when the second accident occurred ... the accident of murder ... They had to get out of the Park - quick. And the only thing which could help them was Architecture, beautiful trusting Architecture that they had used before, but never so cruelly or so selfishly ...

The death of Edmund Campion in 1581 marked a disjunction between the world of printed untruth and private, handwritten, truth in early modern England. Gerard Kilroy traces the circulation of manuscripts connected with Campion to reveal a fascinating network that not only stretched from the Court to Warwickshire and East Anglia but also crossed the confessional boundaries. Kilroy shows that in this intricate web Sir John Harington was a key figure, using his disguise as a wit to conceal a lifelong dedication to Campion's memory. Sir Thomas Tresham is shown as expressing his devotion to Campion both in his coded buildings and in a previously unpublished manuscript, Bodleian MS Eng. th. b. 1-2, whose theological and cultural riches are here fully explored. This book provides startling new views about Campion's literary, historical and cultural impact in early modern England. The great strength of this study is its exploitation of archival manuscript sources, offering the first printed text and translation of Campion's Virgilian epic, a fully collated text of 'Why doe I use my paper, ynke and pen', and Harington's four decades of theological epigrams, printed for the first time in the order he so carefully designed. Edmund Campion: Memory and Transcription lays the foundations of the first full literary assessment of Campion the scholar, the impact he had on the literature of early modern England, and the long legacy in manuscript writing.

Another South is an anthology of poetry from contemporary southern writers who are working in forms that are radical, innovative, and visionary. Highly experimental and challenging in nature, the poetry in this volume, with its syntactical disjunctions, formal revolutions, and typographic playfulness, represents the direction of a new breed of southern writing that is at once universal in its appeal and regional in its flavor.Focusing on poets currently residing in the South, the anthology includes both emerging and established voices in the national and international literary world. From the invocations of Andy Young's "Vodou Headwashing Ceremony" to the blues-informed poems of Lorenzo Thomas and Honorée Jeffers, from the different voicings of )ohn Lowther and Kalamu ya Salaam to the visual, multi-genre art of Jake Berry, David Thomas Roberts, and Bob Grumman, the poetry in Another South is rich in variety and enthusiastic in its explorations of new ways to embody place and time. These writers have made the South lush with a poetic avant-garde all its own, not only redefining southern identity and voice but also offering new models of what is possible universally through the medium of poetry.Hank Lazer's introductory essay about "Kudzu textuality" contextualizes the work by these contemporary innovators. Like the uncontrollable runaway vine that entwines the southern landscape, their poems are hyperfertile, stretching their roots and shoots relentlessly, at once destructive and regenerative. In making a radical departure from nostalgic southern literary voices, these poems of polyvocal abundance are closer in spirit to "speaking in tongues" or apocalyptic southern folk art—primitive, astonishing, and mystic.

Poetry. The poems in MOUTHS attempt the impossible task of speaking outside human language and after the end of human life. That they always already fail to do so is thematized in chafing refrains, syntactic disjunctions, and the accusatory second person pronoun, which addresses at once the reader and the poetry's own uncomfortable materiality. MOUTHS is a manifestation of apocalyptic lyric: experimental, eco-critical, and feminist, its varied forms span human, animal, and insect in ever-shifting relationships of speech, song, eros, and consumption. MOUTHS addresses the inextricability of love and violence in the communities—living and non- living, past and present—that make up our world.

Another South is an anthology of poetry from contemporary southern writers who are working in forms that are radical, innovative, and visionary. Highly experimental and challenging in nature, the poetry in this volume, with its syntactical disjunctions, formal revolutions, and typographic playfulness, represents the direction of a new breed of southern writing that is at once universal in its appeal and regional in its flavor.Focusing on poets currently residing in the South, the anthology includes both emerging and established voices in the national and international literary world. From the invocations of Andy Young's "Vodou Headwashing Ceremony" to the blues-informed poems of Lorenzo Thomas and Honorée Jeffers, from the different voicings of )ohn Lowther and Kalamu ya Salaam to the visual, multi-genre art of Jake Berry, David Thomas Roberts, and Bob Grumman, the poetry in Another South is rich in variety and enthusiastic in its explorations of new ways to embody place and time. These writers have made the South lush with a poetic avant-garde all its own, not only redefining southern identity and voice but also offering new models of what is possible universally through the medium of poetry.Hank Lazer's introductory essay about "Kudzu textuality" contextualizes the work by these contemporary innovators. Like the uncontrollable runaway vine that entwines the southern landscape, their poems are hyperfertile, stretching their roots and shoots relentlessly, at once destructive and regenerative. In making a radical departure from nostalgic southern literary voices, these poems of polyvocal abundance are closer in spirit to "speaking in tongues" or apocalyptic southern folk art—primitive, astonishing, and mystic.

Poetry. The poems in MOUTHS attempt the impossible task of speaking outside human language and after the end of human life. That they always already fail to do so is thematized in chafing refrains, syntactic disjunctions, and the accusatory second person pronoun, which addresses at once the reader and the poetry's own uncomfortable materiality. MOUTHS is a manifestation of apocalyptic lyric: experimental, eco-critical, and feminist, its varied forms span human, animal, and insect in ever-shifting relationships of speech, song, eros, and consumption. MOUTHS addresses the inextricability of love and violence in the communities—living and non- living, past and present—that make up our world.

The death of Edmund Campion in 1581 marked a disjunction between the world of printed untruth and private, handwritten, truth in early modern England. Gerard Kilroy traces the circulation of manuscripts connected with Campion to reveal a fascinating network that not only stretched from the Court to Warwickshire and East Anglia but also crossed the confessional boundaries. Kilroy shows that in this intricate web Sir John Harington was a key figure, using his disguise as a wit to conceal a lifelong dedication to Campion's memory. Sir Thomas Tresham is shown as expressing his devotion to Campion both in his coded buildings and in a previously unpublished manuscript, Bodleian MS Eng. th. b. 1-2, whose theological and cultural riches are here fully explored. This book provides startling new views about Campion's literary, historical and cultural impact in early modern England. The great strength of this study is its exploitation of archival manuscript sources, offering the first printed text and translation of Campion's Virgilian epic, a fully collated text of 'Why doe I use my paper, ynke and pen', and Harington's four decades of theological epigrams, printed for the first time in the order he so carefully designed. Edmund Campion: Memory and Transcription lays the foundations of the first full literary assessment of Campion the scholar, the impact he had on the literature of early modern England, and the long legacy in manuscript writing.

In the Graeco-Roman world, as in our own, people spoke of the divine, of 'religion', 'cult', 'piety' and 'superstition'. But they did not share our sense of a disjunction between 'the religious' and 'the secular', or between theology and other fields of discourse. In these fascinating excursions through the world of early Christian and contemporary non-Christian authors, Downing shows how reflective talk about the divine could readily flow into talk about any and every area of current human concern. This was so in an eclectic Stoic such as Dio Chrysostom, but also in a Platonist such as Plutarch. It was true too of the Jewish-Christian Paul, most richly in Romans. And it characterizes Christian theological reflection in the early Fathers. Such philosophical-theological reflections were expected to have 'cash value' and be enacted in real life. So, for example, Downing compares the life-styles set forward by Jesus and Paul and other early Christians with those urged by other writers in their world. He shows how Paul's discussions of divine Torah echo critical Graeco-Roman debates over law and tradition and how early Christian talk about exorcism resonates with suggestions from Dio. Among the other themes treated here are the 'nature' of women and their part in public discourse; the logic of ancient and modern historiography; aesthetics in the biblical tradition; and the quest for the historical Galilee of Jesus' day. Five of the thirteen chapters in this volume are published here for the first time.

Focusing on artistic evocations of the irrepressible Gedes--an increasingly dominant family of trickster dieties--In Extremis examines the striking disjunction between social collapse and artistic flourescence in twenty-first century Haiti. It brings together the work of 34 artists, most of them living in Port-au-Prince, where they produce remarkable and controversial bodies of work in a variety of media while confronting on a daily basis the realities of Haiti's frustratingly slow recovery from the earthquake of 2010. Some of these artists have achieved acclaim on the international stage, but many receive new attention or reexamination here.

Dr. Laing's first purpose is to make madness and the process of going mad comprehensible. In this, with case studies of schizophrenic patients, he succeeds brilliantly, but he does more: through a vision of sanity and madness as 'degrees of conjunction and disjunction between two persons where the one is sane by common consent' he offers a rich existential analysis of personal alienation. The outsider, estranged from himself and society, cannot experience either himself or others as 'real'. He invents a false self and with it he confronts both the outside world and his own despair. The disintegration of his real self keeps pace with the growing unreality of his false self until, in the extremes of schizophrenic breakdown, the whole personality disintegrates.

Winner of the inaugural Max Ritvo Poetry Prize, North American Stadiums is an assured debut collection about grace―the places we search for it, and the disjunction between what we seek and where we arrive. "You were supposed to find God here / the signs said." In these poems, hinterlands demand our close attention; overlooked places of industry become sites for pilgrimage; and history large and small―of a city, of a family, of a shirt―is unearthed. Here is a factory emptying for the day, a snowy road just past border patrol, a baseball game at dusk. Mile signs point us toward Pittsburgh, Syracuse, Salt Lake City, Chicago. And god is not the God expected, but the still moment amid movement: a field "lit like the heart / of the night," black stars stitched to the yellow sweatshirts of men in a crowd. A map "bleached / pale by time and weather," North American Stadiums is a collection at once resolutely unsentimental yet deeply tender, illuminating the historical forces that shape the places we inhabit and how those places, in turn, shape us.