Category Archives: culture
Henry Threadgill recalls his childhood and upbringing in Chicago, his family life and education, and his brilliant career in music. Here are riveting recollections of the music scene in Chicago in the early 1960s, when Threadgill developed his craft among friends and schoolmates who would go on to form the core of the highly influential Association for the Advancement of Creative Musicians (AACM); the year and a half he spent touring with an evangelical preacher in the mid-1960s; his military service in Vietnam—a riveting tale in itself, but also representative of an under-recognized aspect of jazz history, given the number of musicians in Threadgill’s generation who served in the armed forces.
We appreciate his genius as he travels to the Netherlands, Venezuela, Trinidad, Sicily, and Goa enriching his art; immerses himself in the volatile downtown scene in New York City in the 1970s and 1980s; collaborates with choreographers, writers, and theater directors as well as an astonishing range of musicians, from AACM stalwarts (Muhal Richard Abrams, Roscoe Mitchell, Wadada Leo Smith, and Leroy Jenkins), to Chicago bluesmen, downtown luminaries, and world music innovators; shares his impressions of the recording industry his perspectives on music education and the history of Black music in the United States; and, of course, accounts for his work with the various ensembles he has directed over the past five decades.
By Victor Plahte Tschudi (2022)
The etchings of the Italian printmaker, architect, and antiquarian Giovanni Battista Piranesi (1720–78) have long mesmerized viewers. But, as Victor Plahte Tschudi shows, artists and writers of the modern era found in these works — Piranesi’s visions of contradictory space, endless vistas, and self-perpetuating architecture — a formulation of the modern. In Piranesi and the Modern Age, Tschudi explores the complex appropriation and continual rediscoveries of Piranesi by modern literature, photography, art, film, and architecture.
Three hundred years ago, intellectuals of the European Enlightenment constructed a mythology of technology. Influenced by a confluence of humanism, colonialism, and racism, this mythology ignored local wisdom and indigenous innovation, deeming it primitive. Today, we have slowly come to realize that the legacy of this mythology is haunting us.
Designers understand the urgency of reducing humanity’s negative environmental impact, yet perpetuate the same mythology of technology that relies on exploiting nature. Responding to climate change by building hard infrastructures and favoring high-tech homogenous design, we are ignoring millennia-old knowledge of how to live in symbiosis with nature. Without implementing soft systems that use biodiversity as a building block, designs remain inherently unsustainable.
Lo—TEK, derived from Traditional Ecological Knowledge, is a cumulative body of multigenerational knowledge, practices, and beliefs, countering the idea that indigenous innovation is primitive and exists isolated from technology. It is sophisticated and designed to sustainably work with complex ecosystems.
In the years between 1890 and 1905, Paris witnessed a revolution in printmaking. Before this time, prints had primarily served reproductive or political ends, but, as the century came to a close, artistic quality became paramount, and printmaking blossomed into an autonomous art form. This gorgeously illustrated and accessibly written book looks at the circumstances in which this terrific new enthusiasm for prints unfolded; the principal players in its development; and the various printmaking techniques being used.
Drawing on interviews with African designers, artists, and scientists, Ron Eglash investigates fractals in African architecture, traditional hairstyling, textiles, sculpture, painting, carving, metalwork, religion, games, practical craft, quantitative techniques, and symbolic systems. He also examines the political and social implications of the existence of African fractal geometry. His book makes a unique contribution to the study of mathematics, African culture, anthropology, and computer simulations.
Afrikan Alphabets will lead you to uncharted places in Afrikan cultures. This book is about the highly graphic pictographs, ideographs, and scripts devised and designed by Afrikans themselves. In Afrika, the harmony of art, nature and spirit is the rule, not the exception. In terms of the graphic arts, alphabets designed by Afrikans show that the spiritual line is free and unencumbered by the rule of the grid. Afrikan alphabets express ideas, systems of thought, cultural imperatives, aesthetic preferences, and spirit. They are one of the important keys to help unlock what has been kept hidden from so many for so long. These alphabets with their deeply meaningful graphic constructions show the intelligence and ingenuity of Afrikan peoples.
A tale of diversity within our damaged landscapes, The Mushroom at the End of the World follows one of the strangest commodity chains of our times to explore the unexpected corners of capitalism. Here, we witness the varied and peculiar worlds of matsutake commerce: the worlds of Japanese gourmets, capitalist traders, Hmong jungle fighters, industrial forests, Yi Chinese goat herders, Finnish nature guides, and more. These companions also lead us into fungal ecologies and forest histories to better understand the promise of cohabitation in a time of massive human destruction.
While today the Fluxus collective is recognized for its radical neo-avant-garde works of performance, publishing, and relational art and its experimental, interdisciplinary approach, it was not taken seriously in its own time. With Fluxus Forms, Natilee Harren captures the magnetic energy of Fluxus activities and collaborations that emerged at the intersections of art, music, performance, and literature. The book offers insight into the nature of art in the 1960s as it traces the international development of the collective’s unique intermedia works — including event scores and Fluxbox multiples — that irreversibly expanded the boundaries of contemporary art.
Notes and Tones consists of no-holds-barred conversations which drummer Arthur Taylor held with the most influential jazz musicians of the 1960s and 70s. Free to speak their minds, these musicians offer startling insights into their music, their lives, and the creative process itself.
Susan Leigh Star (1954–2010) was one of the most influential science studies scholars of the last several decades. In her work, Star highlighted the messy practices of discovering science, asking hard questions about the marginalizing as well as the liberating powers of science and technology. In the landmark work Sorting Things Out, Star and Geoffrey Bowker revealed the social and ethical histories that are deeply embedded in classification systems. Star’s most celebrated concept was the notion of boundary objects: representational forms―things or theories―that can be shared between different communities, with each holding its own understanding of the representation. Unfortunately, Leigh was unable to complete a work on the poetics of infrastructure that further developed the full range of her work. This volume collects articles by Star that set out some of her thinking on boundary objects, marginality, and infrastructure, together with essays by friends and colleagues from a range of disciplines―from philosophy of science to organization science―that testify to the wide-ranging influence of Star’s work.