Julian Stubbe aims at characterizing what novelty is in the becoming of objects and how the new becomes part of a shared reality. The study’s method is comparative and concerned with technological practice in science as well as in art. It draws on a detailed comparison of two cases: the becoming of a robotic hand made from silicone, and the genesis of a media art installation that renders visible changes in the earth’s magnetic field. In contrast to the canon of sociological innovation studies, which regard novelty as what actors in the field label as new or innovation, the author attempts to delineate certain shifts in an object’s becoming that individuate an object and render its difference visible. This entails attending the enactment of novelty through cultural imaginaries and narratives about technologies, as well as acknowledging the shifts in technical forms that make loose elements enter a new kind of circularity. From this perspective, novelty is an articulation: when differences are not contradicting, but when differing characteristics are aligned, fitted, and click in so as to appear and behave as a distinct entity.
In what senses do animals, plants, and minerals “write”? How does their “writing” mark our livesour past, present, and future? Addressing such questions with an exhilarating blend of creative flair and theoretical depth, Of Sheep, Oranges, and Yeast traces how the lives of, yes, sheep, oranges, gold, and yeast mark the stories of those animals we call “human.” Bringing together often separate conversations in animal studies, plant studies, ecotheory, and biopolitics, Of Sheep, Oranges, and Yeast crafts scripts for literary and historical study that embrace the fact that we come into being through our relations to other animal, plant, fungal, microbial, viral, mineral, and chemical actors. The book opens and closes in the company of a Shakespearean character talking through his painful encounter with the skin of a lamb (in the form of parchment). This encounter stages a visceral awareness of what Julian Yates names a “multispecies impression,” the way all acts of writing are saturated with the “writing” of other beings. Yates then develops a multimodal reading strategy that traces a series of anthropo-zoo-genetic figures that derive from our comaking with sheep (keyed to the story of biopolitics), oranges (keyed to economy), and yeast (keyed to the notion of foundation or infrastructure). Working with an array of materials (published and archival), across disciplines and historical periods (Classical to postmodern), the book allows sheep, oranges, and yeast to dictate their own chronologies and plot their own stories. What emerges is a methodology that fundamentally alters what it means to read in the twenty-first century.
Günter Grass was Germany’s foremost writer for more than half a century, and his books were and remain best-sellers across the world. The Tin Drum was made into an Oscar-winning film in 1979, and the memoir Peeling the Onion astounded readers by revealing Grass had been drafted into the military wing of the SS, a ruthless component of the Nazi war machine, in the closing months of World War II. Grass also wrote memorably about the German student movement, feminism, and German reunification, and was a key influence on magical realist authors such as Gabriel García Márquez and Salman Rushdie, as well as on the popular novelist John Irving. Günter Grass is the first biography in English of this Nobel Prize–winning writer. Julian Preece introduces both Grass’s key works and political activities, chronicling his interaction with major figures from literary and public life like holocaust poet Paul Celan, Chancellor Helmut Kohl, and cofounder of the Red Army Faction Ulrike Meinhof. From Grass’s campaigning as a citizen for the anti-Nazi resistor and Social Democrat leader Willy Brandt to his more recent invectives against free-market capitalism, Preece places Grass’s fiction and public work in the context of Cold War European politics and post-unification Germany, painting an indelible portrait of a writer who reinvented the postwar German novel and redefined the role of literary commitment.
Now in its second edition, Construction Law is the standard work of reference for busy construction law practitioners, and it will support lawyers in their contentious and non-contentious practices worldwide. Published in three volumes, it is the most comprehensive text on this subject, and provides a unique and invaluable comparative, multi-jurisdictional approach. This book has been described by Lord Justice Jackson as a "tour de force", and by His Honour Humphrey LLoyd QC as "seminal" and "definitive". This new edition builds on that strong foundation and has been fully updated to include extensive references to very latest case law, as well as changes to statutes and regulations. The laws of Hong Kong and Singapore are also now covered in detail, in addition to those of England and Australia. Practitioners, as well as interested academics and post-graduate students, will all find this book to be an invaluable guide to the many facets of construction law.
Julian Stubbe aims at characterizing what novelty is in the becoming of objects and how the new becomes part of a shared reality. The study’s method is comparative and concerned with technological practice in science as well as in art. It draws on a detailed comparison of two cases: the becoming of a robotic hand made from silicone, and the genesis of a media art installation that renders visible changes in the earth’s magnetic field. In contrast to the canon of sociological innovation studies, which regard novelty as what actors in the field label as new or innovation, the author attempts to delineate certain shifts in an object’s becoming that individuate an object and render its difference visible. This entails attending the enactment of novelty through cultural imaginaries and narratives about technologies, as well as acknowledging the shifts in technical forms that make loose elements enter a new kind of circularity. From this perspective, novelty is an articulation: when differences are not contradicting, but when differing characteristics are aligned, fitted, and click in so as to appear and behave as a distinct entity.
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