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Minimalismus prägt den Alltag von immer mehr Menschen. Für jüngere Generationen erscheint Minimalismus als neues Phänomen, das - häufig vermischt mit einer ökologischen Lebensweise - die Kultur in Deutschland verändert. Dass diese Diskussion über Wohlstand, Besitz und menschliche Grundbedürfnisse eine lange Tradition besitzt, ist bisher im populären Diskurs nicht sichtbar. Der Minimalismus-Reader eröffnet erstmals die Vielschichtigkeit des Phänomens durch verschiedene wissenschaftliche Perspektiven aus der Kulturanthropologie, Soziologie, Ethnologie, Kulturpsychologie, Katholischen Theologie, Ostasiatischen Kunstgeschichte und Designgeschichte.

Minimalismus prägt den Alltag von immer mehr Menschen. Für jüngere Generationen erscheint Minimalismus als neues Phänomen, das - häufig vermischt mit einer ökologischen Lebensweise - die Kultur in Deutschland verändert. Dass diese Diskussion über Wohlstand, Besitz und menschliche Grundbedürfnisse eine lange Tradition besitzt, ist bisher im populären Diskurs nicht sichtbar. Der Minimalismus-Reader eröffnet erstmals die Vielschichtigkeit des Phänomens durch verschiedene wissenschaftliche Perspektiven aus der Kulturanthropologie, Soziologie, Ethnologie, Kulturpsychologie, Katholischen Theologie, Ostasiatischen Kunstgeschichte und Designgeschichte.

AbstractCentered on the opening scene of reading staged by Giorgio Agamben in his study of reading machines, The Open: Man and Animal, this article considers how Agamben's own messianic reading of an illuminated page from a medieval Ashkenazi Bible (Biblioteca Ambrosiana MSS B 30–32) erases the entangled biopolitical histories of medieval Ashkenazi Jews and their Christian sovereigns. What happens if we read the distinctive animal-headed Jews peopling medieval Ashkenazi manuscripts of Bibles and Haggadot dated to the thirteenth and early fourteenth centuries, not in a messianic mode but in the temporal mode of biopolitical bare life? What is the temporal structure of precarious life? Furthermore, how does this Ashkenazi figural tradition of animal-headed Jews point to forms of resistance to the biopolitics of medieval Christendom? How is messianic theory now unconsciously entangled in modes of temporality of precarious life, then?

The Realism Reader provides broad coverage of a centrally important tradition in the study of foreign policy and international politics. After some years in the doldrums, political realism is again in contention as a leading tradition in the international relations sub-field. Divided into three main sections, the book covers seven different and distinctive approaches within the realist tradition: classical realism, balance of power theory, neorealism, defensive structural realism, offensive structural realism, rise and fall realism, and neoclassical realism. The middl.

Inspired by Georges Perec's musings on reading, which he likens to "a pigeon pecking at the ground in search of breadcrumbs", Simon Morris' latest book sets exactly those feral avians to work on the very surface of Perec's celebrated text "Reading: A Socio-physiological Outline". In the process he puts pressure on all of the terms in Perec's title: what does it mean to engage a text physically — looking at print, flipping pages, processing language, vocalizing, responding — without any of the social practices or semantics we usually associate with "reading." Or, to put this as Wittgenstein might: what activities still embody a grammar of reading even in the absence of what would seem to be its defining features. Moreover, Pigeon Reader intervenes as a precise facsimile edition of Perec's book, Species of Spaces and Other Pieces (trans. John Sturrock, London: Penguin books, 1997), with only the single chapter on reading modified. Pigeon Reader is thus also a kind of inversion, as well as an intervention: where British copyright laws permit copying 5% of a book, Morris has copied 95%. In reprinting the book to this extent, Morris' conviction has gone beyond the recent tradition of the artists' insert. Within the paratext he has corrupted the corporate branding, with penguins morphing into pigeons and advertisements re-imagined. One could be forgiven for asking why someone would remake an entire book just to make a conceptual play in a single chapter. Morris would likely respond by further appropriating and recontextualizing Perec's closing words from "Reading": "These are questions that I ask, and I think there is some point in a writer asking them."

The BORDERPANIC project brings together artists, media makers and thinkers who are questioning the world's geopolitical and metaphorical borders, and has been supported through the Arts in a Multicultural Australia policy of the Australia Council. The BORDERPANIC reader is one component of the BORDERPANIC project and is supported by the Australian Network for Art and Technology