Henri Lefebvre’s magnum opus: a monumental exploration of contemporary society.
Critique of Everyday Life Volume One: Introduction. A groundbreaking analysis of the alienating phenomena of daily life under capitalism.
Critique of Everyday Life Volume Two: Foundations for a Sociology of the Everyday. Identifies categories within everyday life, such as the theory of the semantic field and the theory of moments.
Critique of Everyday Life Volume Three: From Modernity to Modernism. Explores the crisis of modernity and the decisive assertion of technological modernism.
Verso Books: Henri Lefebvre’s three-volume Critique of Everyday Life is perhaps the richest, most prescient work by one of the twentieth century’s greatest philosophers. Written at the birth of post-war consumerism, the Critique was a philosophical inspiration for the 1968 student revolution in France and is considered to be the founding text of all that we know as cultural studies, as well as a major influence on the fields of contemporary philosophy, geography, sociology, architecture, political theory and urbanism. A work of enormous range and subtlety, Lefebvre takes as his starting-point and guide the “trivial” details of quotidian experience: an experience colonized by the commodity, shadowed by inauthenticity, yet one which remains the only source of resistance and change.
This is an enduringly radical text, untimely today only in its intransigence and optimism.
Text and Images via Verso Books
Do Norwegians feel curiously at home in Chile, and vice versa? Do South Africans have a strange affinity with Italians? And Filipinos with Maldivians? They should, at least if they’re map nerds: each lives in a country with a territorial morphology that closely resembles the other’s.
Although they’re on opposite sides of the globe Chile and Norway are each other’s type, morphologically speaking: elongated to the extreme.
From east to west, Chile on average is just 150 miles (240 km) wide, which is the distance from London to Manchester, or New York to Baltimore. But from north to south, it measures 2,700 miles (4,300 km), which takes you from London to Tehran; or New York to Los Angeles. This makes Chile the world’s most stretched-out country – 18 times longer than it is narrow.
The Five Types of Territorial Morphology sounds like a fun parlour game, at least in cartophile circles (is Portugal compact or elongated? Is or isn’t Somalia prorupt? Does New Zealand qualify as fragmented?) But there is a serious, geopolitical concern behind this attempt at classification. For a country’s shape has a profound impact on its economic success, and even its political viability.
Excerpts from an article written by Frank Jacobs. Continue HERE
Total Landscape, Theme Parks, Public Space employs the theme park in identifying, dissecting and describing the properties of PROPASt – privately-owned publicly accessible space in a themed mode – a hybrid form of public space emerging in urban environments worldwide Mitrasinovic does not propose that theme parks and PROPASt are, or will ever become, desirable substitutes for democratic public space, but deliberately cuts across the theme park model in order to understand the principle of systematic totality employed when such a model is used to revitalize urban public space in the United States, Asia and Europe. In doing so, Mitrasinovic has created compelling and multifaceted inferences out of a plethora of minute details on the design and production of theme parks across continents. Mitrasinovic s central argument is that the process of systematic totalization that brings theme parks and PROPASt into the same conceptual framework is not only obvious through formal similarities, but also through systemic and symbolic analogies: through values, conditions and techniques that have been extended upon the entire social realm. By illuminating the relationship between theme parks and public space, this book offers critical insights into the ethos of total landscape, a condition that emerges from overpowering convergences of the following three domains: a/ a globally emerging socio-economic system organized upon the idea of systematic totality; b/ a material apparatus that establishes its dominance on the ground; and c/ a system of totalizing narratives -designed and operated by the media and entertainment industry- that establish its dominance in cultural imaginations across national boundaries. One of the central premises of this book is that theme parks and PROPASt are complex artifacts designed to materialize such convergences and to spatialize corresponding social and environmental relationships. Mitrasinovic builds his compelling narrative by simultaneously studying phenomena, processes, practices, and forms interwoven in the types of spatial production characteristic of the total landscape. In parallel, Mitrasinovic systematically builds the argument for the necessity of a meta-disciplinary conception of the artificial by juxtaposing and integrating a great variety of insights from both emerging and established fields. In that respect, this book is an essential guide to those interested in cities and urban futures, particularly to scholars and students of urbanism, architecture, design studies, cultural studies, media studies, geography, anthropology, sociology, economy, and marketing.
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Text via Amazon
Cotton production, India. Courtesy of Uwe H. Martin
Niger Delta States. Courtesy of George Osodi.
SUPPLY LINES brings visual practitioners with notable bodies of previous work on globalization together with theorists working in areas of spatial culture, geography, art history and cultural theory to critically examine concepts of resource extraction, use, circulation, and representation. It furthermore forges a collaborative and interdisciplinary mode of geographical knowledge production, with the ultimate intent of stimulating ongoing research, education and public interest in the common use of limited resources. In addition to reframing resources, in other words, Supply Lines seeks to reposition the public’s relation to them. In so doing, it aspires to contribute to participatory, community-oriented models of society, which are increasingly crucial as resource conflicts intensify.
This visual research project explores human interactions with natural resources (e.g., water, oil, silver) and the spatial and social relations ensuing from them. Rather than understanding resources as fixed or externally given, the project conceives of them as collectively produced and able to mobilize and interrelate diverse areas with one another: geographically, historically, economically, and culturally. With growing consciousness about the global limitation and unsustainability of vital resources, there is an urgent need for new means of representation to convey the complexity of such social, geopolitical, ecosystemic and climatic relations. This project’s development of new visual and theoretical material aims to contribute to expanding the notion of “resource” from a hitherto primarily economic-industrial domain toward an aesthetic-cultural context.
Text via Geobodies
Images via Gasworks