A SCHOLARLY BOOK REPOSITORY
City in Sight presents recent scholarship on the various issues facing today’s Dutch metropolitan areas, including immigration and the growing diversity among the urban population, urban restructuring and neighborhood renewal, shifts in urban governance, and the promotion of active citizenship. With its wealth of information and up-to-date research, this text will appeal to scholars of urban politics and social history from all over the globe.
Gregory Elliott argues that Marx is central to all three accounts and that, along with the Manifesto, they form a quartet of analyses of the results and prospects of capitalism and socialism, which are of enduring significance for the Left.
Senses of an Ending provides a readable survey of key historical and political thinkers that will appeal to anyone interested in modern political thought.
Breaking from previous scholarship that sees Johannes Kepler as the culmination of a long-evolving optical tradition that traced back to Greek antiquity via the Muslim Middle Ages, Smith presents Kepler instead as marking a rupture with this tradition, arguing that his theory of retinal imaging, which was published in 1604, was instrumental in prompting the turn from sight to light. Kepler’s new theory of sight, Smith reveals, thus takes on true historical significance: by treating the eye as a mere light-focusing device rather than an image-producing instrument—as traditionally understood—Kepler’s account of retinal imaging helped spur the shift in analytic focus that eventually led to modern optics.
A sweeping survey, From Sight to Light is poised to become the standard reference for historians of optics as well as those interested more broadly in the history of science, the history of art, and cultural and intellectual history.
In 1986 the Peabody Museum of Archaeology and Ethnology at Harvard mounted From Site to Sight, a groundbreaking traveling exhibition on the historic and contemporary uses of photography in anthropology. Using visual materials from the vast photographic archives of the Peabody Museum and the work of members of Harvard’s anthropology department, the accompanying catalog investigates how anthropologists have employed the camera as a recording and analytic tool and as an aesthetic medium. Photographs ranging from daguerreotypes to satellite images are presented in an examination of the possibilities and limitations of using the camera as a fact-gathering and interpretive tool. The authors also explore the broader implications of the uses—and misuses—of visual imagery within the human sciences.
From Site to Sight has been a foundational text for scholars and students in the developing field of visual anthropology, illustrating the role of photographic imagery in anthropology and archaeology from the disciplines’ formative years to the 1980s. Long out of print, this classic publication is now available in an enhanced thirtieth anniversary edition with a new introductory essay by Ira Jacknis.
Microbes create medicines, filter waste water, and clean pollution. They give cheese funky flavors, wines complex aromas, and bread a nutty crumb. Life at the Edge of Sight is a stunning visual exploration of the inhabitants of an invisible world, from the pioneering findings of a seventeenth-century visionary to magnificent close-ups of the inner workings and cooperative communities of Earth’s most prolific organisms.
Using cutting-edge imaging technologies, Scott Chimileski and Roberto Kolter lead readers through breakthroughs and unresolved questions scientists hope microbes will answer soon. They explain how microbial studies have clarified the origins of life on Earth, guided thinking about possible life on other planets, unlocked evolutionary mechanisms, and helped explain the functioning of complex ecosystems. Microbes have been harnessed to increase crop yields and promote human health.
But equally impressive, Life at the Edge of Sight opens a beautiful new frontier for readers to explore through words and images. We learn that there is more microbial biodiversity on a single frond of duckweed floating in a Delft canal than the diversity of plants and animals that biologists find in tropical rainforests. Colonies with millions of microbes can produce an array of pigments that put an artist’s palette to shame. The microbial world is ancient and ever-changing, buried in fossils and driven by cellular reactions operating in quadrillionths of a second. All other organisms have evolved within this universe of microbes, yielding intricate beneficial symbioses. With two experts as guides, the invisible microbial world awaits in plain sight.
For three decades, Paul Arthur has been a leading observer and critic as well as a direct participant in America’s avant-garde cinema. In A Line of Sight, he provides a sweeping new account of the extravagant energies of American experimental cinema since 1965.
Balancing close analysis of both major and lesser-known films with detailed examinations of their production, distribution, and exhibition, Arthur addresses the avant-garde’s cultural significance while offering a timely reconsideration of accepted critical categories and artistic options. Rather than treating American avant-garde cinema as a series of successive artistic breakthroughs, A Line of Sight emphasizes the importance of social and institutional networks, material exchanges, and historical disruptions and continuities. Throughout, Arthur pays close attention to themes and visual practices neglected or underrepresented in previous studies, scrutinizing portraiture as a vehicle for projecting dissident identities, highlighting the essay film and the contemporary city symphony, and assessing the contributions of regional and African American filmmaking to the avant-garde. He also explores thematic and formal questions that have been central to the avant-garde achievement: experimental film's relationship with mainstream narrative cinema and postwar American painting as well as the legacy of sixties’s counterculture; the uses and theoretical implications of found footage and the allegorizing of technology; and the schism between a poetic, expressive cinema and the antisubjective, rationalist bias of structural filmmaking.
Amid the current resurgence of experimental filmmakers and the emergence of a new audience for their work, A Line of Sight reaffirms the extraordinary breadth and diversity of the avant-garde tradition in America.
In analyzing films by Andrzej Wajda, Krzysztof Kieslowsi, Krzysztof Zanussi, Wojciech Has, and Tadeusz Konwicki alongside Konwicki’s literary production, Anna Krakus identifies their shared penchant to defer or completely eschew narrative closure, whether in plot, theme, or style. Krakus calls this artistic tendency "aesthetic unfinalizability." As she reveals, aesthetic unfinalizability was far more than an occasional artistic preference or a passing trend; it was a radical counterpolitical act. The obsession with historical teleology saturated Polish public life during socialism to such a degree that instances of nonclosure or ambivalent endings emerged as polemical responses to official ideology.
In a terse, almost clinically exact style, Nothing in Sight distills the brutal essence of what it is to die alone. Much more than a story of war, this short novel presents the memories, dreams, and hallucinations of two soldiers as they drift toward death. With nothing in sight on the horizon, Jens Rehn directs our view inward, into the minds of both men as they question the meaning of life, the existence of God, and the possibility of enduring human relationships. As the drama unfolds, each man recalls fragments of his past through the delirium of thirst and pain. The American soldier, his arm severed, dies first of gangrene. The German dies in agony a week later. Their life raft sinks into the vastness of the ocean.
Reissued two years ago in Germany, Nothing in Sight was hailed by critics there as a singular achievement. The work is presented here in a crystalline English translation for the first time, given new life for generations of readers to come.
Most Missourians welcomed the opportunity to take part in commercial markets. Farmwomen sold eggs or butter to peddlers and in nearby towns, while men took surplus corn or pork to stores for credit. Immigrants searched for the most fertile land closest to waterways, to ensure they would have large harvests and an easy way to ship them to market. Families floated farm goods downriver until steamboats transformed rural life by drastically reducing the cost of transportation and boosting farm production and consumption. Traders also trekked west across the plains to trade at the inland entrepôt of Santa Fe. The waves of migrants headed for Oregon and California in the 1840s and 1850s further encouraged commercial development. However, most white settlers lacked the necessary financial means to be capitalists in a technical sense, seeking instead a “competency,” or comfortable independence.
This fresh reinterpretation of the American frontier will interest anyone who wants to understand the economic and social significance of westward migration in U.S. history. It gives the reader a gritty, grassroots sense of how ordinary people made their livings and built communities in the lands newly opened to American settlement.
The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.
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