From the author of How to See the World comes a new history of white supremacist ways of seeing—and a strategy for dismantling them. White supremacy is not only perpetuated by laws and police but also by visual culture and distinctive ways of seeing. Nicholas Mirzoeff argues that this form of “white sight” has a history. By understanding that it was not always a common practice, we can devise better ways to dismantle it. Spanning centuries across this wide-ranging text, Mirzoeff connects Renaissance innovations—from the invention of perspective and the erection of Apollo statues as monuments to (white) beauty and power to the rise of racial capitalism dependent on slave labor—with the ever-expanding surveillance technologies of the twenty-first century to show that white sight creates an oppressively racializing world, in which subjects who do not appear as white are under constant threat of violence. Analyzing recent events like the George Floyd protests and the Central Park birdwatching incident, Mirzoeff suggests that we are experiencing a general crisis of white supremacy that presents both opportunities and threats to social justice. If we do not seize this moment to dismantle white sight, then white supremacy might surge back stronger than ever. To that end, he highlights activist interventions to strike the power of the white heteropatriarchal gaze. White Sight is a vital handbook and call to action for anyone who refuses to live under white-dominated systems and is determined to find a just way to see the world.
This book explores the dynamic interaction between art and the sign language of the deaf in France from the philsopheRs to the introduction of the sound motion picture. Nicholas Mirzoeff shows how the French Revolution transformed the ancienT regime metaphor of painting as silent poetry into a nineteenth-century school of over one hundred deaf artists. Painters, sculptors, photographers, and graphic artists all emanated from the Institute for the Deaf in Paris, playing a central role in the vibrant deaf culture of the period. With the rise of Darwinism, eugenics, and race science, however, the deaf found themselves categorized as "savages," excluded and ignored by the hearing. This book is concerned with the process and history of that marginalization, the constitution of a "center" from which the abnormal could be excluded, and the vital role of visual culture within this discourse. Based on groundbreaking archival and pictorial research, Mirzoeff's exciting and intertextual analysis of what he terms the "silent screen of deafness" produces an alternative hIstory of nineteenth-century art that challenges canonical view of the history of art, the inheritance of the Enlightenment, and the functions, status, and meanings of visual culture itself. Fusing methodologies from cultural studies, poststructuralism and art history, his study will be important for students and scholars of art history, cultural and deaf studies, and the history of medicine, and will interest a general audience concerned with the relationship of the deaf and the larger society. Nicholas Mirzoeff is Assistant Professor of Art History at the University of Wisconsin. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Every two minutes, Americans alone take more photographs than were printed in the entire nineteenth century; every minute, people from around the world upload over 300 hours of video to YouTube; and in 2014, we took over one trillion photographs. From the funny memes that we send to our friends to the disturbing photographs we see in the news, we are consuming and producing images in quantities and ways that could never have been anticipated. In the process, we are producing a new worldview powered by changing demographics -- one where the majority of people are young, urban, and globally connected. In How to See the World, visual culture expert Nicholas Mirzoeff offers a sweeping look at history's most famous images -- from Velezquez's Las Meninas to the iconic "Blue Marble" -- to contextualize and make sense of today's visual world. Drawing on art history, sociology, semiotics, and everyday experience, he teaches us how to close read everything from astronaut selfies to Impressionist self-portraits, from Hitchcock films to videos taken by drones. Mirzoeff takes us on a journey through visual revolutions in the arts and sciences, from new mapping techniques in the seventeenth century to new painting styles in the eighteenth and the creation of film, photography, and x-rays in the nineteenth century. In today's networked world, mobile technology and social media enable us to exercise "visual activism" -- the practice of producing and circulating images to drive political and social change. Whether we are looking at pictures showing the effects of climate change on natural and urban landscapes or an fMRI scan demonstrating neurological addiction, Mirzoeff helps us to find meaning in what we see. A powerful and accessible introduction to this new visual culture, How to See the World reveals how images shape our lives, how we can harness their power for good, and why they matter to us all.
The author traces the history and theory of visual culture asking how and why visual media have become so central to contemporary everyday life. He explores a wide range of visual forms, including painting, sculpture, photography, television, cinema, virtual reality, and the Internet while addressing the subjects of race, ethnicity, gender, sexuality, the body, and the international media event that followed the death of Princess Diana.
Sign wars -- The Art of signing -- Ancient gestures, modern signs -- French ancients and moderns -- The Deaf in the harem -- The Deafness of the ancients -- Philosophy and the sign -- Sign at the salon -- Signs of the revolution -- Signs and Citizens : Regeneration and the Deaf -- The Politics of Deafness -- The Normal and the pathological -- David's studio and the Deaf -- The Mimicry of mimesis : Morality, sign and pathology -- Mimicry, copying and orginality -- Revolt and organization -- Cultural politics -- A Culture of gestures -- Mimicry and mimesis -- Visualizing Anthropology : Touch, the hand and gesture -- Evolutionism, art, and the sign -- The Silent monument -- Milan and after -- A Deaf Variety of Modernism? : Republican morality -- The Deaf artists and the museum -- Gesture and hysteria -- Deaf Republicans -- Deaf artists and the Third Republic -- The Deaf and the Dreyfus Affair -- Eugenics and the Deaf -- Deaf moderns -- Anthropology and philosophy -- Art history -- Deaf culture.
From the author of How to See the World comes a new history of white supremacist ways of seeing—and a strategy for dismantling them. White supremacy is not only perpetuated by laws and police but also by visual culture and distinctive ways of seeing. Nicholas Mirzoeff argues that this form of “white sight” has a history. By understanding that it was not always a common practice, we can devise better ways to dismantle it. Spanning centuries across this wide-ranging text, Mirzoeff connects Renaissance innovations—from the invention of perspective and the erection of Apollo statues as monuments to (white) beauty and power to the rise of racial capitalism dependent on slave labor—with the ever-expanding surveillance technologies of the twenty-first century to show that white sight creates an oppressively racializing world, in which subjects who do not appear as white are under constant threat of violence. Analyzing recent events like the George Floyd protests and the Central Park birdwatching incident, Mirzoeff suggests that we are experiencing a general crisis of white supremacy that presents both opportunities and threats to social justice. If we do not seize this moment to dismantle white sight, then white supremacy might surge back stronger than ever. To that end, he highlights activist interventions to strike the power of the white heteropatriarchal gaze. White Sight is a vital handbook and call to action for anyone who refuses to live under white-dominated systems and is determined to find a just way to see the world.
Bringing together leading scholars in the fields of criminology, international law, philosophy and architectural history and theory, this book examines the interrelationships between architecture and justice, highlighting the provocative and curiously ambiguous juncture between the two. Illustrated by a range of disparate and diverse case studies, it draws out the formal language of justice, and extends the effects that architecture has on both the place of, and the individuals subject to, justice. With its multi-disciplinary perspective, the study serves as a platform on which to debate the relationships between the ceremonial, legalistic, administrative and penal aspects of justice, and the spaces that constitute their settings. The structure of the book develops from the particular to the universal, from local situations to the larger city, and thereby examines the role that architecture and urban space play in the deliberations of justice. At the same time, contributors to the volume remind us of the potential impact the built environment can have in undermining the proper juridical processes of a socio-political system. Hence, the book provides both wise counsel and warnings of the role of public/civic space in affirming our sense of a just or unjust society.
No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.
From fur coats to nude paintings, and from sports to beauty contests, the body has been central to the literal and figurative fashioning of ourselves as individuals and as a nation. In this first collection on the history of the body in Canada, an interdisciplinary group of scholars explores the multiple ways the body has served as a site of contestation in Canadian history in the nineteenth and twentieth centuries. Showcasing a variety of methodological approaches, Contesting Bodies and Nation in Canadian History includes essays on many themes that engage with the larger historical relationship between the body and nation: medicine and health, fashion and consumer culture, citizenship and work, and more. The contributors reflect on the intersections of bodies with the concept of nationhood, as well as how understandings of the body are historically contingent. The volume is capped off with a critical introductory chapter by the editors on the history of bodies and the development of the body as a category of analysis.
What is distinctive about art and design as a subject in secondary schools? What contribution does it make to the wider curriculum? How can art and design develop the agency of young people? Understanding Art Education examines the theory and practice of helping young people learn in and beyond the secondary classroom. It provides guidance and stimulation for ways of thinking about art and design when preparing to teach and provides a framework within which teachers can locate their own experiences and beliefs. Designed to complement the core textbook Learning to Teach Art and Design in the Secondary School, which offers pragmatic approaches for trainee and newly-qualified teachers, this book suggests ways in which art and design teachers can engage reflexively with their continuing practice. Experts in the field explore: The histories of art and design education and their relationship to wider social and cultural developments Creativity as a foundation for learning Engaging with contemporary practice in partnership with external agencies The role of assessment in evaluating creative and collaborative practices Interdisciplinary approaches to art and design Developing dialogue as a means to address citizenship and global issues in art and design education. Understanding Art Education will be of interest to all students and practising teachers, particularly those studying at M Level, as well as teacher educators, and researchers who wish to reflect on their identity as an artist and teacher, and the ways in which the subject can inform and contribute to education and society more widely.
In December 2018, the United States Senate unanimously passed the nation’s first antilynching act, the Justice for Victims of Lynching Act. For the first time in US history, legislators, representing the American people, classified lynching as a federal hate crime. While lynching histories and memories have received attention among communication scholars and some interdisciplinary studies of traditional civil rights memorials exist, contemporary studies often fail to examine the politicized nature of the spaces. This volume represents the first investigation of the National Memorial for Peace and Justice and the Legacy Museum, both of which strategically make clear the various links between America’s history of racial terror and contemporary mass incarceration conditions, the mistreatment of juveniles, and capital punishment. Racial Terrorism: A Rhetorical Investigation of Lynching focuses on several key social agents and organizations that played vital roles in the public and legal consciousness raising that finally led to the passage of the act. Marouf A. Hasian Jr. and Nicholas S. Paliewicz argue that the advocacy of attorney Bryan Stevenson, the work of the Equal Justice Initiative (EJI), and the efforts of curators at Montgomery’s new Legacy Museum all contributed to the formation of a rhetorical culture that set the stage at last for this hallmark lynching legislation. The authors examine how the EJI uses spaces of remembrance to confront audiences with race-conscious messages and measure to what extent those messages are successful.
This book argues that recent developments in contemporary comedy have changed not just the way we laugh but the way we understand the world. Drawing on a range of contemporary televisual, cinematic and digital examples, from Seinfeld and Veep to Family Guy and Chappelle’s Show, Holm explores how humour has become a central site of cultural politics in the twenty-first century. More than just a form of entertainment, humour has come to play a central role in the contemporary media environment, shaping how we understand ideas of freedom, empathy, social boundaries and even logic. Through an analysis of humour as a political and aesthetic category, Humour as Politics challenges older models of laughter as a form of dissent and instead argues for a new theory of humour as the cultural expression of our (neo)liberal moment.
This book is about the ways U.S. cities have responded to some of the most pressing political, cultural, racial issues of our time as agentic, remembering actors. Our case studies include New York City’s securitized remembrances at the National September 11 Memorial and Museum; Charlottesville’s Confederate monument controversies in the wake of the 2017 Unite the Right Rally; and Montgomery’s “double consciousness” at the National Memorial for Peace and Justice and Legacy Museum. By tracing the genealogies that can be found across three contested cityscapes—New York, Charlottesville, and Montgomery—this book opens up new vistas for research for communication studies as it shows how cities are agentic actors that can wage “war” on urban landscapes as massive actor-networks struggling to remember (and forget). With the rise of sanctuary cities against nativistic immigration policies, “invasions” from white supremacists and neo-Nazis objecting to “the great replacement,” and rhizomic uprisings of Black Lives Matter protests in response to lethal police force against persons of color, this timely book speaks to the emergent realities of how cities have become battlegrounds in America’s continuing cultural wars.
An investigation into one of the largest and most lucrative mineral mining companies in the world, Rio Tinto, Extraction Politics reveals how the company constructs a presence in the places it operates and shapes meanings and orientations toward the environment. Taking readers on a “rhetorical pilgrimage” across the American Southwest, Nicholas Paliewicz shows how Rio Tinto creates adaptable corporate identities. From Ronald Reagan’s frontiersman advertisements for the Borax Mine in California to the pioneer Mormon persona at Bingham Canyon Mine in Salt Lake City and the folksy, paternalistic perspective toward the San Carlos Apache at the proposed mine at Oak Flat, Arizona, the company appropriates local history to embed itself as a valued member of the public—without having to settle in those ecological communities and bear the costs of extraction. This does not occur without resistance, however. Paliewicz also shows how activists use these same tactics to expose Rio Tinto as an exploitative, colonialist polluter. In an era of surging demand for dwindling supplies of minerals and metals, this book previews what the future of extractivism may look like. Extraction Politics will appeal to scholars and students of environmental communication and activist politics as well as general readers interested in the climate crisis.
This groundbreaking and compelling book illuminates the Western experience of the Iraqi war and examines the experience of watching the war against Iraq on television, on the internet, in the cinema and in print media.
Over the last 30 years, wages have stagnated and average household debt has more than doubled. People are forced to take on debt to meet their everyday needs like housing and education, leading to devastated communities and an increasing reliance on credit to maintain basic living standards. This system enriches the lives of few at the expense of many. The Debt Resisters' Operations Manual is a handbook for debtors everywhere to understand how the debt system really works, while providing practical tools for fighting debt in its most exploitative forms.
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