Beatriz Preciado: Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era (2008–) [ES, EN]
Filed under book | Tags: · biopolitics, body, cyborgs, desire, drugs, feminism, gender, pharmaceutics, pornography, queer theory, sex, sexuality, technology, transsexualism
What constitutes a “real” man or woman in the twenty-first century? Since birth control pills, erectile dysfunction remedies, and factory-made testosterone and estrogen were developed, biology is definitely no longer destiny.
In this analysis of gender, Beatriz Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Foucault’s The History of Sexuality also includes Preciado’s diaristic account of her own use of testosterone every day for one year, and it’s impact on her body as well as her imagination.
Publisher Espana Calpe, Madrid, 2008
ISBN 8467026936, 9788467026931
Translated from the French by Bruce Benderson
Publisher The Feminist Press at the City University of New York, 2013
ISBN 1558618376, 9781558618374
Interview (Ricky Tucker, The Paris Review, 2013)
Review (Marcie Bianco, Lambda, 2013)
Review (Johanna Fateman, BookForum, 2013)
Review (Deborah Harris-Moore, Make, 2014)
Commentary (McKenzie Wark, Public Seminar, 2013)
Filed under book | Tags: · art, capitalism, colonialism, gift, native americans, poetry, politics
Collection of writings by the American Indian Movement activist, poet and contemporary artist.
“In 50 articles, reviews, polemics and poems, Durham attacks the bases of the US nation-state, its cowboys’n’indians foundation myths, its commercialisation of Indian wisdom, and the very impossibility of speaking about the Indian experience in English. For a people so massively colonised, victims of an ongoing genocide, art is no luxury. It is the necessarily tricky, duplicitous practice of the Coyote, revealing over and over again the ignorance of power and celebrating its own escapades and escapes.” (from a review by Sean Cubitt, Frieze, 1994)
Edited by Jean Fisher
Publisher Kala Press, London, 1993
ISBN 0947753044, 9780947753047
Filed under book | Tags: · activism, art, copyright, democracy, liquid democracy, pirate party, politics, surveillance
The international Pirate Parties consist of about 40 political parties worldwide, initiated by the founding of the first Pirate Party in Sweden in 2006. The parties present themselves as practitioners of leaderless politics, convinced as they are that the cult of leadership has long undermined the possibility of a true, direct democracy. The parties defend a process of permanent voting through an approach they term Liquid Democracy, in which online forums are maintained by each Pirate Party that give members the opportunity to continuously vote on new proposals. Despite the fluid nature of their programs, the parties nonetheless remain committed to defending several of their key causes, which include supporting a free and open Internet, common intellectual property, and the establishment of strong privacy laws to protect Internet users.
With contributions by Heath Bunting, Becky Hogge, Birgitta Jónsdóttir, Geert Lovink & Merijn Oudenampsen with Willem van Weelden, Matt Mason, Metahaven, and Dirk Poot.
Edited and with an Introduction by Jonas Staal, in dialogue with Dirk Poot
Publisher BAK, Utrecht, 2013
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Filed under book | Tags: · biography, composition, computer music, electroacoustic music, electronic music, mathematics, music, sound synthesis
Iannis Xenakis had a long-standing interest in the U.S., but given the five years he spent there, little has been written about his experiences. This study attempts, through archival research and interviews, to document Xenakis’ time in the United States. Its subject is his relationship to American cultural institutions, and the attraction of America for his musical composition and research.
Xenakis in America treats the period from Copland’s invitation to Tanglewood in 1963, through Xenakis’ 1972 investment by France as a state-supported artist. While he visited the U.S. many times thereafter, he no longer sought long-term engagement with U.S. institutions, but presented work completed elsewhere. After his summer at Tanglewood, performances of Xenakis compositions by Schuller, Foss and Bernstein (among others) are tracked throughout the 1960s and 1970s. Xenakis’ association with George Balanchine is examined, along with the reception of Xenakis’ theoretical writings, culminating in the publication of Formalized Music. in 1971. Xenakis’ collaboration with Alexis Solomos on Aeschylus’ Oresteia, produced in 1966 by the Ypsilanti Greek Theatre, is explored, as well as the founding of Xenakis’ research center CMAM at Indiana University in 1967, which he would build over the next five years.
Concerning Xenakis’ reasons for coming to America, there are two major motivations. First, there were reasons to look beyond France: its state institutions, up to the late 1960s, provided little support for avant-garde composition. Later, there were reasons to return: with the Polytope de Cluny of 1972, the Ministry of Culture signaled a policy change that favored Xenakis, and established his CeMAMu as a state-supported research center. Second, Xenakis’ opportunities in the U.S. satisfied his interest in working outside the boundaries of autonomous composition. The collaboration on the Ypsilanti Oresteia offered Xenakis involvement with both ancient and modern Greek theater, and Bloomington’s sponsorship of CMAM, which included the equipment necessary for computer synthesis of sound, gave Xenakis access to technology unavailable in France at the time.
Publisher One Block Avenue, Tappan/NY, October 2014
Filed under book | Tags: · philosophy, photography
Fin du siècle dernier. Dans des décors princiers, dont les ruines sont devenues des théâtres fragiles, des femmes s”aiment, se poursuivent et se perdent. Dans les parcs, au bout des couloirs et sous les lustres fanés, des scènes troublantes s”entrecroisent. Autant d”énigmes que chaque regard — le vôtre – peut résoudre — ou pas. Droit de regards se lit comme de la poésie: littéralement et dans tous les sens. Le roman-photo est suivi d”une lecture de Jacques Derrida, qui en prolonge les multiples ramifications.
Photography by Marie-Françoise Plissart
Script and montage by Benoît Peeters and Marie-Françoise Plissart
Essay by Jacques Derrida
Publisher Minuit, Paris, 1985
ISBN 2707310190, 9782707310194
99 + 36 pages
Commentary (Alexandra Koeniguer, Textyles, 2011, in French)
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