The Boy Who Could Change the World: The Writings of Aaron Swartz (2015)

31 March 2016, dusan

“The writings of the computer genius and Internet hacktivist whose tragic suicide shook the world

In January 2013, Aaron Swartz, under arrest and threatened with thirty-five years’ imprisonment, committed suicide. He was twenty-six. But in his short life he had changed the world: reshaping the Internet, questioning our assumptions about intellectual property, and creating some of the tools we use in our daily online lives. He was also a leading critic of the politics of the Web.

In this collection of his writings that spans over a decade, Swartz displays his passion for and in-depth knowledge of intellectual property, copyright, and the architecture of the Internet. The Boy Who Could Change the World contains the life’s work of one of the most original minds of our time.”

With an Introduction by Lawrence Lessig
Publisher The New Press, New York/London, 2015
ISBN 162097066X, 9781620970669
368 pages

Publisher
WorldCat

HTML

See also MIT prosecution report.

Journal of Peer Production, 8: Feminism and (Un)Hacking (2016)

31 March 2016, dusan

“This special issue of the journal shows a growing body of work that brings together feminism with hacking and making. The growth of internet technologies and the pervasion of computer culture into everyday life has prompted a renewed interrogation of the gender limits within these information technologies and digital media. From the shiny glass screens on our mobile devices to the sprawling campuses of technology corporations, gendered configurations of power within technoculture have become the focus of attention in popular culture, media, and academic scholarship.” (from the Introduction)

Edited by Shaowen Bardzell, Lilly Nguyen, and Sophie Toupin (a.k.a. SSL Nagbot)
Published March 2016
Open access
ISSN 2213-5316

HTML

Craig Buckley: Graphic Apparatuses: Architecture, Media, and the Reinvention of Assembly 1956-1973 (2013)

31 March 2016, dusan

“This study examines the work of a number of architects who sought to rethink the physical, visual, and historiographic problems of assembly at a moment when the discipline was being destabilized by changing cultural politics and the proliferation of new electronic media.

Through a series of case studies, it analyzes buildings, images, publications, prototypes, and films made from the late 1950s to the early 1970s by architects in London (Theo Crosby and Edward Wright), Vienna (Hans Hollein, Gunther Feuerstein, Walter Pichler), Paris (the Utopie group), and Florence (the Superstudio group).

I argue that during these years the making of composite images was intensely identified with imagining new forms of construction, a dynamic informed by concepts of montage pioneered by the historical avant-gardes. Rather than compare postwar experiments to those of the 1920s, the dissertation considers how emerging media practices responded to the absorption of montage into postwar mass culture. The rethinking of montage paralleled a changing attitude toward machines, in which an earlier 20th-century ambition to master mechanization through design and prefabrication gave way to an attitude emphasizing a more flexible combination and rearrangement of parts, materials, and concepts drawn from a wide range of sources. Assembling an image out of disparate photomechanical elements graphically enacted the manner in which architects imagined appropriating technologies and materials from outside the domain of architecture in a bid to transform the discipline. During these years architects engaged montage as a mode of working both within and against the space of architectural publicity; one that was less illustrative than it was performative.

If efforts to reinvent problems of assembly aimed to shift discourse within the discipline, they were also shaped by changes in the technological apparatuses of mechanical reproduction, notably the displacement of industrial letterpress by photo-offset lithography. In retrospect, grasping changing ideas of assembly helps to comprehend how during these years the status of building shifted within architectural culture, while also prefiguring how habits of “cut and paste,”–the continual combination and alteration of ready-made visual material–would become central to the operational culture of digital tools in our own time.”

Publisher Architecture Department, Princeton University, 2013
Advisors: Beatriz Colomina and Spyros Papapetros
316 pages

Publisher

PDF (12 MB)

Elena Filipovic: The Apparently Marginal Activities of Marcel Duchamp (2013)

31 March 2016, dusan

“This study focuses on a series of fugitive operations that Marcel Duchamp incited in order to test, theorize, position, and even make his work as such. Not conventionally “artistic” in nature, even if intimately connected to the collection, presentation, reception, and valuation of art, these activities include Duchamp’s role as administrator, archivist, art advisor, curator, publicist, reproduction-maker, and salesman of his own oeuvre. Rather than merely procedural, auxiliary, or incidental, they might be thought of as constitutive, resulting in a still understudied but profoundly influential output by an artist who redefined so much of what, hence forth, would be called art. Here, those most iconic of Duchamp’s inventions, the readymades, although not the central objects of this study, are understood as significant insofar as they were not simply “nominated” to become artworks, but more importantly, because they were curated. It is precisely through curatorial operations—relative to much of Duchamp’s production, and constituting one of the central activities that this dissertation explores—that the artist rendered the discourse, institutions, marketing, and presentational strategies of art into something like his cardinal “medium.”

Tracing Duchamp’s perennial relationship to photography, reproduction, the museum, and the archive, and spanning the period between 1913 and 1969, three chapters closely examine a number of undeniably material things: chapter one considers the artist’s boxes of photographically replicated notes, the Box of 1914 (1913-14) and Boîte verte (1934); chapter two examines documentation of ephemeral exhibitions, recording Duchamp’s curatorial interventions as well as suitcases filled with miniature reproductions, the Boîte-en-valise (1938-42); and chapter three is dedicated to a permanent installation, Etant donnés 1. la chute d’eau, 2. le gaz d’éclairage (1946-66). However, the premise of this dissertation is that all of these gain a new significance if studied in relation to the elusive activities that actually constituted them as artworks. Together, they formed a counter-conception of the role of the artist, articulating—and complicating—the conceptual stakes of much of what is known of his practice and thickening into what Walter Benjamin called the artist’s “theory of the work of art.”” (Abstract)

Ph.D. Dissertation
Advisor: Hal Foster
Publisher Art and Archaeology Department, Princeton University, 2013
507 pages

Publisher

PDF (2 MB)
PDF (images section) (10 MB)

Near Futures Online, 1: Europe at a Crossroads (2016)

31 March 2016, dusan

Europe at a Crossroads, the pilot issue of Near Futures Online, examines the recent history and potential fate of the two faces of “crisis” in today’s Europe, namely: the resistance and eventual surrender of the Greek government to the dictates of its creditors, and the growing tensions regarding the reception of asylum seekers and the place of immigrants in the EU.”

Near Futures Online, the online companion of Zone Books’ Near Futures series, is a forum dedicated to the analysis of the challenges borne out of national governments’ and international institutions’ responses to some critical events – the financial crisis of 2008, the “Arab Springs” of 2011 – as well as ongoing developments such as climate change and soaring inequalities. Organized around a specific question, each issue of NFO brings together scholars, journalists, political activists, and artists, and includes contributions belonging to different genres and using a variety of media – essays and reportages, interviews and dialogues, photo essays and videos. Contributors are invited to address questions raised by NFO through an engagement with particular debates, histories, policies, and actors as well as to examine their possible trajectories in the near future.”

Edited by Michel Feher, William Callison, Milad Odabaei, and Aurélie Windels
Publisher Zone Books, Mar 2016
Open access

HTML

Recent comments
Recent entries
More resources