Suchergebnisse

Intro -- Foreword: By Michael Taussig -- Acknowledgements -- Contents -- About the Authors -- List of Figures -- Chapter 1: Introduction: Wild Things -- References -- Part I: Situated Storytelling -- Chapter 2: Walking Place -- Place-Making and Movement -- References -- Chapter 3: Reading Place -- Time and Tide -- Moments in Time -- Personal Communication, Ongoing -- References -- Chapter 4: Storying Place -- Resisting Paths of Least Resistance -- Writerly Intentions -- How Can Our Writing Transform from Magical Thinking into alchemy into Art? -- More Than 'Just Stories' -- References -- Chapter 5: Rematriation -- EARTH/Interior Space/the Confessional -- Cut up -- Cut Throat -- Borneo Is… -- Cross-Cultural Collaboration… -- As a Shareable Act… -- Dancing -- MOTHER/Returning the Gift/Learning to Dance (Again) -- SKY/An Upside Down World/Dream Places -- Part II: Technologies of the Body -- Chapter 6: Swimming -- Immersion -- Permeability -- Waves -- Returns -- Resonance -- Clearing -- Camouflage -- Breath -- References -- Chapter 7: Healers -- Film, Voice, Embodiment -- Walking Through Gardens -- Knowledge Holders and Plant Life -- Returning to Guacamayas -- Medicinal Healing Recipes -- Film as Self-Representation -- References -- Chapter 8: Harmers -- Being There After the Fact -- Hope and Despair -- Digital Gate Keepers -- Shifting Sentiments -- References -- Chapter 9: Gathering -- Walking Through the Streets of Melbourne -- Collective Dreaming -- What and Who Is Gathering Here? -- Figurative Time -- References -- Part III: Future States -- Chapter 10: Afterlife -- New Sites of Mourning -- Socialized Mourning in the Digital Era -- Self-Care and Selfie Culture -- Trolls and Terror -- Digital Afterlives -- The Continuum -- References -- Chapter 11: Ritual and Rhyme -- Play as Creative Labour -- Ritual Logic and Life Cycle Principles.

Articulación entre las formas de producción, caracteristicas de la economia campesina y las relaciones de produccion tipicas del capitalismo que domina el cultivo y procesamiento industrial de la caña de azucar; un estudio referido al Valle del Cauca. Digitalisierte PDF-Ausgabe im Internet vorhanden.

"Mic check! Mic check! Lacking amplification in Zuccotti Park, Occupy Wall Street protesters addressed one another by repeating and echoing speeches throughout the crowd. In Occupy, W.J.T. Mitchell, Bernard E. Harcourt, and Michael Taussig take the protesters' lead and perform their own resonant call-and-response, playing off of each other in three essays that engage the extraordinary Occupy movement that has swept across the world, examining everything from self-immolations in the Middle East to the G8 crackdown in Chicago to the many protest signs still visible worldwide. "You break through the screen like Alice in Wonderland," Taussig writes in the opening essay, "and now you can't leave or do without it." Following Taussig's artful blend of participatory ethnography and poetic meditation on Zuccotti Park, political and legal scholar Harcourt examines the crucial difference between civil and political disobedience. He shows how by effecting the latter--by rejecting the very discourse and strategy of politics--Occupy Wall Street protesters enacted a radical new form of protest. Finally, media critic and theorist Mitchell surveys the global circulation of Occupy images across mass and social media and looks at contemporary works by artists such as Antony Gormley and how they engage the body politic, ultimately examining the use of empty space itself as a revolutionary monument. Occupy stands not as a primer on or an authoritative account of 2011's revolutions, but as a snapshot, a second draft of history, beyond journalism and the polemics of the moment--an occupation itself."--Publisher's website

Mic check! Mic check! Lacking amplification in Zuccotti Park, Occupy Wall Street protestors addressed one another by repeating and echoing speeches throughout the crowd. In Occupy, W. J. T. Mitchell, Bernard E. Harcourt, and Michael Taussig take the protestors' lead and perform their own resonant call-and-response, playing off of each other in three essays that engage the extraordinary Occupy movement that has swept across the world, examining everything from self-immolations in the Middle East to the G8 crackdown in Chicago to the many protest signs still visible worldwide. "You break through the screen like Alice in Wonderland," Taussig writes in the opening essay, "and now you can't leave or do without it." Following Taussig's artful blend of participatory ethnography and poetic meditation on Zuccotti Park, political and legal scholar Harcourt examines the crucial difference between civil and political disobedience. He shows how by effecting the latter – by rejecting the very discourse and strategy of politics – Occupy Wall Street protestors enacted a radical new form of protest. Finally, media critic and theorist Mitchell surveys the global circulation of Occupy images across mass and social media and looks at contemporary works by artists such as Antony Gormley and how they engage the body politic, ultimately examining the use of empty space itself as a revolutionary monument. Occupy stands not as a primer on or an authoritative account of 2011's revolutions, but as a snapshot, a second draft of history, beyond journalism and the polemics of the moment – an occupation itself. ; https://scholarship.law.columbia.edu/books/1108/thumbnail.jpg