David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones’s analysis brings this methodology to bear upon a strand of contemporary visual activity that has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory.
On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Mirosław Bałka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for ‘archival’ media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.
David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones’s analysis brings this methodology to bear upon a strand of contemporary visual activity that has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory.
What do Texans' pastimes and recreations say about their characters? Looking at Texas history from a new angle, David McComb starts from the premise that how people spend their leisure time may well reveal more about their true natures and interests than the work they do or their family connections. In this innovative book, McComb traces the history of various types of recreation in Texas, gathering significant insights into the characters of Texans from the pleasures they have pursued. Reflecting the frontier origins of Texas, McComb starts with the recreations that were most popular with men in a crude, still-developing society—drinking, gambling, and whoring. He goes on to show how, as Texas became more civilized, so did its diversions. He describes how Texans have connected with nature in parks and zoos; watched football and baseball in great stadiums such as the Astrodome and Cotton Bowl; discovered the pleasure of reading in public and university libraries; and enjoyed radio, TV, movies, and live theater in places such as Houston's Alley Theatre. This recreational history reveals that Texans are open-minded and generous; that they respect the land; oppose prostitution but indulge in gambling and drinking; support racial and gender rights; love zoos; champion libraries; take pride in theatrical productions; and adore sports.
A war that started under questionable pretexts. A president who is convinced of his country’s might and right. A military and political stalemate with United States troops occupying a foreign land against a stubborn and deadly insurgency. The time is the 1840s. The enemy is Mexico. And the war is one of the least known and most important in both Mexican and United States history—a war that really began much earlier and whose consequences still echo today. Acclaimed historian David A. Clary presents this epic struggle for a continent for the first time from both sides, using original Mexican and North American sources. To Mexico, the yanqui illegals pouring into her territories of Texas and California threatened Mexican sovereignty and security. To North Americans, they manifested their destiny to rule the continent. Two nations, each raising an eagle as her standard, blustered and blundered into a war because no one on either side was brave enough to resist the march into it. In Eagles and Empire, Clary draws vivid portraits of the period’s most fascinating characters, from the cold-eyed, stubborn United States president James K. Polk to Mexico’s flamboyant and corrupt general-president-dictator Antonio López de Santa Anna; from the legendary and ruthless explorer John Charles Frémont and his guide Kit Carson to the “Angel of Monterey” and the “Boy Heroes” of Chapultepec; from future presidents such as Benito Juárez and Zachary Taylor to soldiers who became famous in both the Mexican and North American civil wars that soon followed. Here also are the Irish Soldiers of Mexico and the Yankee sailors of two squadrons, hero-bandits and fighting Indians of both nations, guerrilleros and Texas Rangers, and some amazing women soldiers. From the fall of the Alamo and harrowing marches of thousands of miles in the wilderness to the bloody, dramatic conquest of Mexico City and the insurgency that continued to resist, this is a riveting narrative history that weaves together events on the front lines—where Indian raids, guerrilla attacks, and atrocities were matched by stunning acts of heroism and sacrifice—with battles on two home fronts—political backstabbing, civil uprisings, and battle lines between Union and Confederacy and Mexican Federalists and Centralists already being drawn. The definitive account of a defining war, Eagles and Empire is page-turning history—a book not to be missed.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.