New Mobilities Regimes analyses how global mobilities are changing the world of today and the role of political and economic power. Bringing together essays by leading scholars and social scientists, including Mimi Sheller and Bülent Diken with the work of well-known artists and art theorists such as Jordan Crandall, Ursula Bieman, Gülsün Karamustafa and Dan Perjovschi this book is a unique document of the cross-disciplinary mobility and power discourse. The specific design, integrating the text and art elements to create a singular dialogue makes for an exciting intellectual and aesthetic experience. Illustrated by a range of studies which examine the regulation and structure of mobility, such as the daily routines of teleworkers, Ukrainian cleaners in Western Europe, the mobility policies of global corporations, and the impact of bicycle policies on public space, New Mobilities Regimes emphasizes the routes and crossroads of migration flows as well as at the interaction of mobility and new spatial concepts. The contributors are concerned with both the positive outcomes and the disappointments of the global mobilizations in modern lives. This book is ground-breaking in that it calls for the reassessment of the figurative arts in providing independent and insightful knowledge-generating research on the nature of mobility and highlights the new appreciation of visual representations in sociology, cultural geography and anthropology.
This is a book of family stories, of pioneers who immigrated to central Illinois from a variety of locations in Germany. They dared to leave the Old World and seek their fortune in the New World and strove every day of their lives to improve the quality of life for their children and descendants. They left a part of Europe, Germany, comprising a radius of about a hundred miles, and settled in America, in central Illinois, within a radius of about twenty-five miles. Between 1845 and 1869, some came as families, some as individuals , but they all chose to inhabit the villages of Danvers, Minier, Petersburg, or the surrounding farmland. Of the pioneer generation, there were sixteen people whose stories are like little jewels embroidered onto the warp and woof of the historical tapestry of their time. The second-, third-, and fourth-generation folks are likewise described within the context of their times and always leading in a straight line of lineage to Mary and Bill Oehler, the authors parents. Every life has a story. It has been a pleasure to delineate these thirty-one lives.
New Mobilities Regimes analyses how global mobilities are changing the world of today and the role of political and economic power. Bringing together essays by leading scholars and social scientists, including Mimi Sheller and Bülent Diken with the work of well-known artists and art theorists such as Jordan Crandall, Ursula Bieman, Gülsün Karamustafa and Dan Perjovschi this book is a unique document of the cross-disciplinary mobility and power discourse. The specific design, integrating the text and art elements to create a singular dialogue makes for an exciting intellectual and aesthetic experience. Illustrated by a range of studies which examine the regulation and structure of mobility, such as the daily routines of teleworkers, Ukrainian cleaners in Western Europe, the mobility policies of global corporations, and the impact of bicycle policies on public space, New Mobilities Regimes emphasizes the routes and crossroads of migration flows as well as at the interaction of mobility and new spatial concepts. The contributors are concerned with both the positive outcomes and the disappointments of the global mobilizations in modern lives. This book is ground-breaking in that it calls for the reassessment of the figurative arts in providing independent and insightful knowledge-generating research on the nature of mobility and highlights the new appreciation of visual representations in sociology, cultural geography and anthropology.
In the sciences, the experimental approach has proved its worth in generating what subsequently requires understanding. Can the emergent field of artistic research be inspired by recent thinking about the history and workings of science?
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