=LDR 03210nam 22005172 4500 =001 fdd9e45a-08b4-4b98-9c34-bada71a34979 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020939596 =020 \\$z9781950192908$q(Paperback) =020 \\$a9781950192915$q(PDF) =024 7\$a10.21983/P3.0305.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJMQ$2bicssc =072 7$aPSVP$2bicssc =072 7$aPSY013000$2bisacsh =072 7$aNAT001000$2bisacsh =072 7$aJMQ$2thema =072 7$aPSVP$2thema =100 1\$aMontag, Christian,$eauthor.$uUniversity of Ulm.$0(orcid)0000000181120837$1https://orcid.org/0000-0001-8112-0837 =245 10$aAnimal Emotions :$bHow They Drive Human Behavior /$cChristian Montag, Kenneth L. Davis. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (160 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAnimal Emotions: How They Drive Human Behavior gives a concise overview of ancient mammalian emotions deeply rooted in the human brain. Jaak Panksepp, a world-renowned neuroscientist, dedicated his life career to the study of mammalian emotions and he carved out seven distinct emotional systems he called seeking, lust, care, and play (positive emotions), and fear, anger, and sadness (negative emotions), all exerting a tremendous influence on human behavior.Christian Montag, a neuroscientist and psychologist, and a long-time collaborator of Jaak Panksepp, revisits together with Kenneth L. Davis, one of Jaak’s PhD students, Panksepp’s theories and provides the reader with new insights into the nature of emotions and their role as survival tools, both for animals and for humans. They also raise new questions about the background of the research field Jaak Panksepp coined "Affective Neuroscience." How are personality and psychopathology linked to animal emotions? Do animals feel the same way as we do? What are our emotional needs in a digital society, and what is key to a happy life? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aemotion =653 \\$aJaak Panksepp =653 \\$aneuroscience =653 \\$apsychology =653 \\$amotivation =653 \\$aanthropology =653 \\$aanimal studies =700 1\$aDavis, Kenneth L.,$eauthor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0305.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0305.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02570nam 22004212 4500 =001 0090dbfb-bc8f-44aa-9803-08b277861b14 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615625355$q(Paperback) =024 7\$a10.21983/P3.0006.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFC$2bicssc =072 7$aNAT010000$2bisacsh =072 7$aPHI005000$2bisacsh =245 00$aAnimal, Vegetable, Mineral :$bEthics and Objects /$cedited by Jeffrey Jerome Cohen. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (295 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAnimal, Mineral, Vegetable examines what happens when we cease to assume that only humans exert agency. Through a careful examination of medieval, early modern and contemporary lifeworlds, these essays collectively argue against ecological anthropocentricity. Sheep, wolves, camels, flowers, chairs, magnets, landscapes, refuse and gems are more than mere objects. They act; they withdraw; they make demands; they connect within lively networks that might foster a new humanism, or that might proceed with indifference towards human affairs. Through what ethics do we respond to these activities and forces? To what futures do these creatures and objects invite us, especially when they appear within the texts and cultures of the “distant” past? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aobject-oriented ontology =653 \\$aposthumanism =653 \\$acultural studies =653 \\$amaterialism =653 \\$athing studies =700 1\$aCohen, Jeffrey Jerome,$eeditor.$uGeorge Washington University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0006.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0006.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03442nam 22003972 4500 =001 f3c9e9d8-9a38-4558-be2e-cab9a70d62f0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9781468129847$q(Paperback) =024 7\$a10.21983/P3.0004.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSC$2bicssc =072 7$aLIT014000$2bisacsh =100 1\$aHassan, Ann,$eauthor.$uUniversity of Otago. =245 10$aAnnotations to Geoffrey Hill's Speech! Speech! /$cAnn Hassan. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (282 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aGeoffrey Hill’s Speech! Speech! (2000) encapsulates two thousand years’ worth of utterances in a symbolic act of remembrance and expression of despair for the current age, in which we find “our minds and ears fouled by degraded public speech—by media hype, insipid sermons, hollow political rhetoric, and the ritual misuse of words.” Through 120 densely allusive stanzas—“As many as the days that were | of SODOM”—the poem wrestles this condition from within, fighting fire with fire in an alchemical symbolic labour that transmutes the dross of corrupt and clichéd idiom into a dynamic logopoeia which proves true Hill’s persistent claim: “genuinely difficult art is truly democratic.” Such is the weird, ambivalently hostile position of poetry in the present world and thus the space of our real connection to it: “Whatever strange relationship we have with the poem, it is not one of enjoyment. It is more like being brushed past, or aside, by an alien being” (Hill).Befriending this estrangement, embracing it as a more amicable brushing-up-against, Hassan’s Annotations is a thorough and patient explication of Speech! Speech! that both clarifies and deepens the poem’s difficulties, illuminating its polyphonic language and careening discursive movement. The author’s method is at once commentarial, descriptive, and narratorial, staying faithfully with the poem and following its complex verbal and logical turns. The book generously provides, rather than direct interpretative incursion, a more durable and productive document of “the true nature / of this achievement” (stanza 92), a capacious, open understanding of the text that will prove invaluable to its present and future readers. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aGeoffrey Hill =653 \\$aannotiations =653 \\$atheory of poetry =653 \\$aSpeech! Speech! =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0004.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0004.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04475nam 22005172 4500 =001 baf524c6-0a2c-40f2-90a7-e19c6e1b6b97 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019951805 =020 \\$z9781950192557$q(Paperback) =020 \\$a9781950192564$q(PDF) =024 7\$a10.21983/P3.0265.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJHMC$2bicssc =072 7$aRNPG$2bicssc =072 7$aSOC002000$2bisacsh =072 7$aJHMC$2thema =072 7$aRNPG$2thema =245 00$aAnthropocene Unseen :$bA Lexicon /$cedited by Cymene Howe, Anand Pandian. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (545 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe idea of the Anthropocene often generates an overwhelming sense of abjection or apathy. It occupies the imagination as a set of circumstances that counterpose individual human actors against ungraspable scales and impossible odds. There is much at stake in how we understand the implications of this planetary imagination, and how to plot paths from this present to other less troubling futures. With Anthropocene Unseen: A Lexicon, the editors aim at a resource helpful for this task: a catalog of ways to pluralize and radicalize our picture of the Anthropocene, to make it speak more effectively to a wider range of contemporary human societies and circumstances. Organized as a lexicon for troubled times, each entry in this book recognizes the gravity of the global forecasts that invest the present with its widespread air of crisis, urgency, and apocalyptic possibility. Each also finds value in smaller scales of analysis, capturing the magnitude of an epoch in the unique resonances afforded by a single word.The Holocene may have been the age in which we learned our letters, but we are faced now with circumstances that demand more experimental plasticity. Alternative ways of perceiving a moment can bring a halt to habitual action, opening a space for slantwise movements through the shock of the unexpected. Each small essay in this lexicon is meant to do just this, drawing from anthropology, literary studies, artistic practice, and other humanistic endeavors to open up the range of possible action by contributing some other concrete way of seeing the present. Each entry proposes a different way of conceiving this Earth from some grounded place, always in a manner that aims to provoke a different imagination of the Anthropocene as a whole.The Anthropocene is a world-engulfing concept, drawing every thing and being imaginable into its purview, both in terms of geographic scale and temporal duration. Pronouncing an epoch in our own name may seem the ultimate act of apex species self-aggrandizement, a picture of the world as dominated by ourselves. Can we learn new ways of being in the face of this challenge, approaching the transmogrification of the ecosphere in a spirit of experimentation rather than catastrophic risk and existential dismay? This lexicon is meant as a site to imagine and explore what human beings can do differently with this time, and with its sense of peril. =536 \\$aRice University =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$acultural studies =653 \\$aclimate change =653 \\$aecopolitics =653 \\$aenvironmental humanities =653 \\$anature =653 \\$aextinction =700 1\$aHowe, Cymene,$eeditor.$uRice University. =700 1\$aPandian, Anand,$eeditor.$uJohns Hopkins University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0265.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0265.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04665nam 22005412 4500 =001 f6afff19-25ae-41f8-8a7a-6c1acffafc39 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019937769 =020 \\$z9781950192236$q(Paperback) =020 \\$a9781950192243$q(PDF) =024 7\$a10.21983/P3.0250.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSL1$2bicssc =072 7$aSOC056000$2bisacsh =072 7$aJBSL1$2thema =072 7$a5PB-US-C$2thema =072 7$a5PB-US-D$2thema =072 7$a5PB-US-E$2thema =072 7$a5PB-US-H$2thema =245 00$aAntiracism Inc. :$bWhy the Way We Talk about Racial Justice Matters /$cedited by Felice Blake, Paula Ioanide, Alison Reed. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (382 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAntiracism Inc. traces the ways people along the political spectrum appropriate, incorporate, and neutralize antiracist discourses to perpetuate injustice. It also examines the ways organizers continue to struggle for racial justice in the context of such appropriations. Antiracism Inc. reveals how antiracist claims can be used to propagate racism, and what we can do about it.While related to colorblind, multicultural, and diversity discourses, the appropriation of antiracist rhetoric as a strategy for advancing neoliberal and neoconservative agendas is a unique phenomenon that requires careful interrogation and analysis. Those who co-opt antiracist language and practice do not necessarily deny racial difference, biases, or inequalities. Instead, by performing themselves conservatively as non-racists or liberally as ‘authentic’ antiracists, they purport to be aligned with racial justice even while advancing the logics and practices of systemic racism.Antiracism Inc. therefore considers new ways of struggling toward racial justice in a world that constantly steals and misuses radical ideas and practices. The collection focuses on people and methods that do not seek inclusion in the hierarchical order of gendered racial capitalism. Rather, the collection focuses on aggrieved peoples who have always had to negotiate state violence and cultural erasure, but who work to build the worlds they envision. These collectivities seek to transform social structures and establish a new social warrant guided by what W.E.B. Du Bois called “abolition democracy,” a way of being and thinking that privileges people, mutual interdependence, and ecological harmony over individualist self-aggrandizement and profits. These aggrieved collectivities reshape social relations away from the violence and alienation inherent to gendered racial capitalism, and towards the well-being of the commons. Antiracism Inc. articulates methodologies that strive toward freedom dreams without imposing monolithic or authoritative definitions of resistance. Because power seeks to neutralize revolutionary action through incorporation as much as elimination, these freedom dreams, as well as the language used to articulate them, are constantly transformed through the critical and creative interventions stemming from the active engagement in liberation struggles. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acritical race studies =653 \\$aethnic studies =653 \\$aantiracism =653 \\$asocial justice =653 \\$ablack politics =653 \\$apoetry =653 \\$aabolition democracy =700 1\$aBlake, Felice,$eeditor.$uUniversity of California, Santa Barbara. =700 1\$aIoanide, Paula,$eeditor.$uIthaca College.$0(orcid)0000000339681029$1https://orcid.org/0000-0003-3968-1029 =700 1\$aReed, Alison,$eeditor.$uOld Dominion University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0250.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0250.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03907nam 22004932 4500 =001 88c47bd3-f8c9-4157-9d1a-770d9be8c173 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019954848 =020 \\$z9781950192618$q(Paperback) =020 \\$a9781950192625$q(PDF) =024 7\$a10.21983/P3.0271.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJWMN$2bicssc =072 7$aTEC028000$2bisacsh =072 7$aJWMN$2thema =100 1\$aAskins, Kye,$eauthor.$uUniversity of Glasgow.$0(orcid)0000000230137978$1https://orcid.org/0000-0002-3013-7978 =245 12$aA Nuclear Refrain :$bEmotion, Empire, and the Democratic Potential of Protest /$cKye Askins, Phil Johnstone, Kelvin Mason. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (146 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA Nuclear Refrain is a spatial fiction, and miniature chapbook (measuring 4 X 6 inches), that critiques the policy of nuclear deterrence, the concept of Mutually Assured Destruction, and the UK’s decision to replace its Vanguard submarines, the so-called Trident replacement. We challenge that decision via extending our geographical imaginations into the past, present, and future. Noting the more usual economic, moral, and strategic objections to Trident and its replacement, A Nuclear Refrain considers the issues from less familiar perspectives, vis-a-vis the emotional and embodied, empire and the establishment, and democratic potentialities.Set against the authors’ ongoing participation in extensive public protests against the UK’s decision to replace Trident in 2016, A Nuclear Refrain disrupts familiar academic and policy forms of writing. It is “an uncomfortable hybrid between academia and fiction,” intent on discomfiting the reader to spur the radical reimagining of a world profoundly shaped by the threat of nuclear weapons. Inspired by author and social critic Charles Dickens, this book draws on the form of A Christmas Carol. Transported by "ghosts" of the nuclear past, present and future, a pro-Trident British policy maker, the Right Honourable Roger C. Bezeeneos, has his perceptions sorely challenged. But will Roger allow his feelings to influence his decision-making? Will he recognize the yearning for an empire lost that mobilizes the British establishment? And will he admit the suppression of political participation that a commitment to nuclear deterrence determines? It’s your call, Roger. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$anuclear deterrence =653 \\$aemotion =653 \\$aempire =653 \\$ademocracy =653 \\$aspatial fiction =653 \\$anuclear weapons =653 \\$adisarmament =700 1\$aJohnstone, Phil,$eauthor.$uUniversity of Sussex.$0(orcid)0000000303949599$1https://orcid.org/0000-0003-0394-9599 =700 1\$aMason, Kelvin,$eauthor.$uUniversity of Liverpool.$0(orcid)0000000283616112$1https://orcid.org/0000-0002-8361-6112 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0271.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0271.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02654nam 22004092 4500 =001 5f441303-4fc6-4a7d-951e-5b966a1cbd91 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531816$q(Paperback) =024 7\$a10.21983/P3.0163.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC064000$2bisacsh =100 1\$aRothes, Joshua,$eauthor. =245 13$aAn Unspecific Dog :$bArtifacts of This Late Stage in History /$cJoshua Rothes. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (172 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA nationwide survey conducted by an institute for philosophical research has determined that nihilists, on the whole, have good intentions.In An Unspecific Dog, Joshua Rothes collects 150 short texts as fables for our time, a veritable catalog of agnotology, a series of situations and propositions that revel in the dark irony at the root of our early-twenty-first-century existence.A man reads the terms and conditions and finds that he has no secrets, while scientists promise that, “with improvements to fMRI technology, what matters to us will become more clear.”The subjects of these texts are caught between vocabularies, between contingency and certainty, the interim in which certain kind of ironic vitality exists, where tragedy and humor are equally likely and often deeply entangled. Rothes reminds us that language acts as a mirror for human experience, in that through it we can never really see the backs of our own heads. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanecdotes =653 \\$ahumor =653 \\$aaphorisms =653 \\$afables =653 \\$aagnotology =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0163.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0163.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03910nam 22004092 4500 =001 41508a3c-614b-473e-aa74-edcb6b09dc9d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615845562$q(Paperback) =024 7\$a10.21983/P3.0147.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =072 7$aPHI048000$2bisacsh =100 1\$aMathews, Freya,$eauthor.$uLa Trobe University.$0(orcid)0000000188198696$1https://orcid.org/0000-0001-8819-8696 =245 10$aArdea :$bA Philosophical Novella /$cFreya Mathews. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat is soul? Can it be forfeited? Can it be traded away? If it can, what would ensue? What consequences would follow from loss of soul — for the individual, for society, for the earth?In the early nineteenth century, Goethe’s hero, Faust, became a defining archetype of modernity, a harbinger of the existential possibilities and moral complexities of the modern condition. But today the dire consequences of the Faustian pact with the devil are becoming alarmingly visible. In light of this, how would Goethe’s arguably flawed drama play out in a 21st-century century setting? Would a contemporary Faust sign up to a demonic deal? Indeed what, in the wake of two hundred years of social and economic development, would be left for the devil to offer him? A contemporary Faust would already possess everything the original Faust in his ascetic cloister lacked — affluence and mobility; celebrity and worldly influence; access to information; religious choice; sexual freedom and the availability of women — though women, it must be noted, currently also partake of that same freedom. The only thing a present-day Faust would lack would be his soul. Would he miss it? Does soul even exist? If it does, it would of course be the one thing the devil could not bestow. So from what or whom could Faust retrieve it? What, in a word, would a contemporary Faust most deeply desire?In pursuit of these questions, Ardea engages a familiar but possibly faulty archetype, that of Faust, with an unfamiliar one, that of the white heron, borrowed from a short story of the same name by nineteenth-century American author, Sarah Orne Jewett. In Jewett’s tale, a soul-pact of an entirely different kind from that entered into by Faust is proposed. It is a pact with the wild, a pledge of fealty, of non-forfeiture, that promises to redraw the violent psycho-sexual and psycho-spiritual patterns that have underpinned modernity. How would a present-day heir to the Faustian tradition, ingrained with the habit of entitlement but also burdened with the consequences of the old pact, respond to the new proposition? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aeco-philosophy =653 \\$atheory fiction =653 \\$aFaustian novella =653 \\$awilderness =653 \\$amorality tale =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0147.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0147.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03807nam 22005412 4500 =001 2253da3a-0c12-4f5b-b21d-828d4720859c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023947842 =020 \\$z9781685711306$q(Paperback) =020 \\$a9781685711313$q(PDF) =024 7\$a10.53288/0406.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRNPG$2bicssc =072 7$aPSAF$2bicssc =072 7$aRNC$2bicssc =072 7$aSCI075000$2bisacsh =072 7$aPHI048000$2bisacsh =072 7$aRNPG$2thema =072 7$a3ACFD$2thema =072 7$aPSAF$2thema =072 7$aRNC$2thema =100 1\$aAndersson, J. Daniel,$eauthor.$uLinköping University.$0(orcid)0000000219792795$1https://orcid.org/0000-0002-1979-2795 =245 10$aArtificial Earth :$bA Genealogy of Planetary Technicity /$cJ. Daniel Andersson. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (348 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aArtificial Earth: A Genealogy of Planetary Technicity offers an intellectual history of humanity as a geological force, focusing on a prevalent contradiction in the Anthropocene discourse on global environmental change: on the one hand, it has been argued that there are hardly any pristine environments anymore, to the degree that the concept of nature has lost its meaning; while on the other, that anthropogenic environmental change has become so prevailing that it ought to be conceived of as a force of nature, in the literal sense of the expression. Artificial Earth argues that to fully grasp the stakes of this discourse, we need not only understand the contemporary scientific and technological transformations behind the Anthropocene, but also explore the history of an ontological concern tied up with it.In order to do so, Artificial Earth examines reflections on the ontological dualism between nature and artifice within the history of earth science from the late eighteenth century onwards. Paying particular attention to its consequences for how human subjectivity has been conceptualized in the Anthropocene, it then enrolls these resources in an effort to problematize attempts since the 1980s to formalize earth science in systems theory terminology. In sum, the aim is to investigate the historical conditions for the possibility of conceiving human artifice as an integral part of the earth’s terrestrial environment, with the conviction that such an investigation may assist in resolving the aforementioned contradiction or at least to understand it better by tracing its historical lineage. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$aearth system science =653 \\$ageophilosophy =653 \\$aglobal environmental change =653 \\$aintellectual history =653 \\$aphilosophy of technology =653 \\$atechnosphere =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0406.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0406.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03226nam 22004092 4500 =001 ae9f8357-4b39-4809-a8e9-766e200fb937 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692426562$q(Paperback) =024 7\$a10.21983/P3.0103.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aLIT014000$2bisacsh =072 7$aBIO026000$2bisacsh =100 1\$aOdell, David,$eauthor. =245 12$aA Rushed Quality /$cDavid Odell. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (326 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThese fragments collected here (in 2 books, “A Rushed Quality” and “Bodying Forth”) belong neither to philosophy nor to poetry — and yet they are for the most part focused on a substantial area of overlap between these two venerable disciplines, vis-à-vis the question, “What is it like to be X?” Philosophers like to fill in the X with something exotic like a bat or a dolphin, or even an Artificial Intelligence, while poets tend to fill it with something else, equally exotic, namely themselves. For the diffident and introspective author of A Rushed Quality and Bodying Forth, the X, while definitely human, is perhaps someone in general, equally distant from and equally intimate with both the writer and the reader in the very moment of their eponymous activity.The start of it all was the perception of what was called the “rushed quality,” as something persistent and bothersome and of which there was no question of its ever being shed. Rather than evaded or denied, it was welcomed because it seemed for the first time since childhood to mark a structural occurrence presenting a new metaphysical datum. As it happened, this quality proved very elusive in its mature bothersomeness and the inquiry into it soon turned into a sort of quasi-theoretical fascination, which took as its main theme the fate of pure subjectivity — the utterly unfunctional, utterly useless, utterly dispensible feeling of being. The rushed quality is perhaps merely the sense of it draining away, or its long-sustained decrescendo. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetic philosophy =653 \\$aphenomenology =653 \\$amemoir =653 \\$ameditations =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0103.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0103.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02836nam 22003972 4500 =001 7eb6f426-e913-4d69-92c5-15a640f1b4b9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615814872$q(Paperback) =024 7\$a10.21983/P3.0029.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =100 1\$aBurckhardt, Andreas,$eauthor. =245 12$aA Sanctuary of Sounds /$cAndreas Burckhardt. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (98 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise.What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself.A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aWilliam Faulkner =653 \\$asound ecology =653 \\$anoise =653 \\$apoetry =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0029.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0029.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03354nam 22004212 4500 =001 4fc74913-bde4-426e-b7e5-2f66c60af484 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615988177$q(Paperback) =024 7\$a10.21983/P3.0162.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBD$2bicssc =072 7$aLIT015000$2bisacsh =100 1\$aWest, William N.,$eauthor.$uNorthwestern University. =245 10$aAs If :$bEssays in As You Like It /$cWilliam N. West. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (136 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aShakespeare’s As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? “What would you say to me now an [that is, “if”] I were your very, very Rosalind?” (4.1.64-65). “Much virtue in ‘if’,” as one of its characters declares near the play’s end; ‘if’ is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change?In As You Like It, unlike Shakespeare’s other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were—and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in ‘if’ as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aWilliam Shakespeare =653 \\$aEarly Modern studies =653 \\$aAs You Like It =653 \\$acultural studies =653 \\$aexperimentation =653 \\$aliterary studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0162.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0162.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02852nam 22005652 4500 =001 19d21671-246e-4387-9ac7-7e1a938240f9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024939850 =020 \\$z9781685712204$q(Paperback) =020 \\$a9781685712211$q(PDF) =024 7\$a10.53288/0517.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBIO017000$2bisacsh =072 7$aFIC010000$2bisacsh =072 7$aPOE024000$2bisacsh =072 7$aFNF$2thema =072 7$aFC$2thema =072 7$aFXT$2thema =072 7$aVFJD$2thema =072 7$aDCF$2thema =072 7$aDCC$2thema =100 1\$aCalkins, Jennifer,$eauthor. =245 12$aA Story of Witchery /$cJennifer Calkins. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (184 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFantasy, fear, and freedom all play a part in A Story of Witchery, a book-length narrative poem by Jennifer Calkins, and newly illustrated by Thor Harris. Here we meet Emily, our “small and weedy” protagonist, an orphan complicit (perhaps) in her own abandonment who is caught up, as poet Amy Gerstler writes in her Introduction, in a story “entwined with science facts and twisted clinical fictions.” In language rolling and tripping with spare precision, Calkins makes a modern pilgrim progress into the imagination and the dark world of medicine. Rich and haunting images create a seemingly familiar environment which, like the internal landscape of the protagonist, dissolves only to reform, until finally resolving into a healed whole. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adisability studies =653 \\$afairytale =653 \\$apoetry =653 \\$amedical memoir =653 \\$awitchery =653 \\$amedicine =700 1\$aHarris, Thor,$eillustrator. =700 1\$aGerstler, Amy,$eintroduction by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0517.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0517.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02940nam 22004812 4500 =001 3f78b298-8826-4162-886e-af21a77f2957 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018930420 =020 \\$z9781947447462$q(Paperback) =020 \\$a9781947447479$q(PDF) =024 7\$a10.21983/P3.0199.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRPC$2bicssc =072 7$aSOC015000$2bisacsh =100 1\$aBrekke, Klara Jaya,$eauthor.$uDurham University. =245 10$aAthens and the War on Public Space :$bTracing a City in Crisis /$cKlara Jaya Brekke, Christos Filippidis, Antonis Vradis. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (174 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aSometimes, the maelstrom of a crisis can be captured in a single image. The image of the mundane, barely noticeable movement of an urban dweller as they go about their everyday life. Athens and the War on Public Space commences from images just like this one, collected over a two-year period of research (2012–2014) in Athens during a time of severe financial and political crisis. For the author-curators of this volume, public space became a light-sensitive surface upon which they could begin to map the material imprints of the most structural and violent characteristics of the crisis, and their research spread in different directions, tracking the role of infrastructure and the shifts the financial crisis brought about upon built environments, the violent manifestations of the official anti-migrant policy, the rise of racism, the imposition of the emergency upon public space, and the phenomenology of mass transit. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAthens =653 \\$aprotest =653 \\$aphotography =653 \\$aGreece =653 \\$aEuro =653 \\$aurban space =653 \\$aimmigration =700 1\$aFilippidis, Christos,$eauthor. =700 1\$aVradis, Antonis,$eauthor.$uLoughborough University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0199.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0199.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03336nam 22005772 4500 =001 d3cb2d79-746d-4a75-b773-e58b46353bcf =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024940076 =020 \\$z9781685712181$q(Paperback) =020 \\$a9781685712198$q(PDF) =024 7\$a10.53288/0514.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hger =072 7$aTEC047000$2bisacsh =072 7$aSOC008000$2bisacsh =072 7$aTHFP$2thema =072 7$aTDCF$2thema =072 7$aJBCC$2thema =072 7$a3ACFD$2thema =072 7$aJBCT$2thema =100 1\$aKlose, Alexander,$eauthor. =245 10$aAtlas of Petromodernity /$cAlexander Klose, Benjamin Steininger; translated by Ayça Türkoğlu. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (360 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Atlas of Petromodernity is many things in one: historical and geographical non-fiction, cultural theory essay, and picture book. In forty-four short essays, inspired by an equal amount of pictorial findings, Klose and Steininger develop a technical, geographical, political, and speculative panorama of the declining era of petroleum modernity.The authors stroll through Baku, Rotterdam, and Louisiana, into Manchuria and through the Vienna Basin. They read Bertolt Brecht, technical manuals, and petroculture theory, and they listen to Neil Young. They go to the moon, through refineries and over highways emptied by the COVID-19 pandemic. They confront petrochemistry with petromelancholy, catalysis with catharsis, cosmos with cosmetics. The Atlas of Petromodernity tackles the contradictory ambivalences of a substance that has been vital for our epoch, and whose roles and meanings need to be understood in order to be able to leave this epoch behind. =536 \\$aMax Planck Institute for the History of Science =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$acultural studies =653 \\$apetroleum =653 \\$apetrocultures =653 \\$amedia theory =653 \\$ageography =653 \\$aenergy humanities =700 1\$aSteininger, Benjamin,$eauthor.$uTechnical University of Berlin.$0(orcid)0000000341974373$1https://orcid.org/0000-0003-4197-4373 =700 1\$aTürkoğlu, Ayça,$etranslator. =700 1\$aLeMenager, Stephanie,$eforeword by.$uUniversity of Oregon. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0514.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0514.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03566nam 22004332 4500 =001 06db2bc1-e25a-42c8-8908-fbd774f73204 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692403723$q(Paperback) =024 7\$a10.21983/P3.0096.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aAracagök, Zafer,$eauthor. =245 10$aAtopological Trilogy :$bDeleuze and Guattari /$cZafer Aracagök. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (90 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAtopological Trilogy creates new concepts for Deleuze-Guattarian thought without any heed for sectarian, sermonising, or dutiful readings of the philosophers. In Part I of the trilogy, “Becoming-Sexual of the Sexual,” Aracagök demonstrates the ways in which quantum theory and the concept of “complementarity” inform Deleuze and Guattari’s thought, especially in relation to “becoming” in general and “becoming-woman” and “becoming-queer” more particularly. Aracagök argues that the ways in which the philosophers put forward a ban on “becoming-man” with a certain degree of undecidability encapsulates (albeit in a cryptic form) other becomings, the most important of which is becoming-queer, or rather, the becoming-sexual of the sexual.In Part II: “Deleuze on Sound, Music, and Schizo-Incest,” Aracagök puts into resonance the sound, noise, and music (and the question) of schizo-incest with the intention of deterritorialising a notion of the meta-audible. If Kafka’s story, “The Investigations of a Dog” leads us to a realm of the “formless” which cannot be heard without destroying what we know as “hearing,” it also offers us a limit-experience of the meta-audible, which, when radicalised via the notions of “schizo-incest” and “self-shattering,” creates a line of flight that escapes even from the line of flight itself. All these maneuvers pose a serious challenge to Deleuze and Guattari, who claim that despite all his investigations, Kafka’s investigator dog is re-Oedipalised in the end. Proposing in the end a limit experience which Aracagök calls the “meta-audible,” he shows that Kafka’s more radical approach to sound creates a line of flight that escapes even from the line of flight itself =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apsychoanalysis =653 \\$acultural studies =653 \\$aGilles Deleuze =653 \\$anoise =653 \\$aFelix Guattari =653 \\$aperversion =700 1\$aAntonioli, Manola,$eforeword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0096.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0096.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03570nam 22004932 4500 =001 811fd271-b1dc-490a-a872-3d6867d59e78 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019957788 =020 \\$z9781950192670$q(Paperback) =020 \\$a9781950192687$q(PDF) =024 7\$a10.21983/P3.0282.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJMAF$2bicssc =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =072 7$aPSY026000$2bisacsh =072 7$aJMAF$2thema =072 7$aDNC$2thema =100 1\$aAshtor, Gila,$eauthor.$uColumbia University. =245 10$aAural History /$cGila Ashtor. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (324 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAural History is an anti-memoir memoir of encountering devastating grief that uses experimental storytelling to recreate the winding, fractured path of loss and transformation.Written by a thirty-something psychotherapist and queer theorist, Aural History is structured as a sequence of three sections that each use different narrative styles to represent a distinctive stage in the protagonist’s evolving relationship to trauma. Aural History explores how a cascade of self-dissolving losses crisscrosses a girl’s coming of age.Through lyric prose, the first section follows a precocious tomboy whose fierce attachment to her father forces her, when he dies and she is twelve years old, to run the family bakery business, raise a delinquent younger brother, and take care of a destructive, volatile mother.In part two, scenes narrated in the third person illustrate a high-achieving high school student who is articulate and in control except for bouts of sudden and inchoate attractions, the first of which is to her severe and coaxing English teacher.The third story tells of her relation with a riveting, world-famous professor, interspersed with a tragic-comic series of dialogues between the protagonist and a cast of diverse psychotherapists as she, now twenty-five years old and living in New York City, undertakes an odyssey to understand why true self-knowledge remains elusive and her real feelings, choked and incomplete.In what Phillip Lopate calls “an amazing document,” Aural History pushes the narrative conventions of memoir to capture a story the genre of memoir usually struggles to tell: that you can lose yourself, and have no way to know it. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apsychoanalysis =653 \\$aqueer theory =653 \\$atrauma =653 \\$amemoir =653 \\$atherapy =653 \\$achildhood =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0282.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0282.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02584nam 22004572 4500 =001 93330f65-a84f-4c5c-aa44-f710c714eca2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615736891$q(Paperback) =024 7\$a10.21983/P3.0016.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI035000$2bisacsh =245 00$acontinent. Year 1 :$bA Selection of Issues 1.1–1.4 /$cedited by Jamie Allen, Vincent W.J. van Gerven Oei, Adam Staley Groves, Nico Jenkins, Paul Boshears. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (194 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$acontinent. Year 1: A selection of issues 1.1-1.4 collects a variety of thoughts and tropes from the 2011 issues of continent., ranging from work on Greek poetry to deep brain recordings, from speculative realism to the fragments as a unit of prose, and from queer theory to mass murder. This collection presents the fruits of an intense collaboration throughout the different zones of the Academy =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$apolitics =653 \\$aculture =653 \\$aart =653 \\$atheory =700 1\$aAllen, Jamie,$eeditor. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uEuropean Graduate School.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aGroves, Adam Staley,$eeditor.$uEuropean Graduate School.$0(orcid)0000000218421327$1https://orcid.org/0000-0002-1842-1327 =700 1\$aJenkins, Nico,$eeditor.$uHusson University. =700 1\$aBoshears, Paul,$eeditor.$uEuropean Graduate School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0016.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0016.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03295nam 22005652 4500 =001 0f0b5d24-cc43-411e-8a3b-902e9d7e796b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024933942 =020 \\$z9781685711481$q(Paperback) =020 \\$a9781685711498$q(PDF) =024 7\$a10.53288/0463.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afre$aita =072 7$aDSC$2bicssc =072 7$aHPN$2bicssc =072 7$aLIT014000$2bisacsh =072 7$aPHI001000$2bisacsh =072 7$aDSC$2thema =072 7$aQDTN$2thema =072 7$a6BA$2thema =100 1\$aDe Francesco, Alessandro,$eauthor.$uAccademia Albertina delle Belle Arti.$0(orcid)0000000316223682$1https://orcid.org/0000-0003-1622-3682 =245 10$aContinuum 2 :$bWritings – Scritti – Écrits 2015–2022 /$cAlessandro De Francesco. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (336 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis volume gathers Alessandro De Francesco’s essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015.The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author’s commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed.Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author’s ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$apoetics =653 \\$aconceptual art =653 \\$aimmersive environments =653 \\$abaroque =653 \\$adensity =653 \\$amultidimensionality =653 \\$anon-dualism =653 \\$aaesthetics =653 \\$aliterary criticism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0463.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0463.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02903nam 22003972 4500 =001 c3c09f99-71f9-431c-b0f4-ff30c3f7fe11 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789491914065$q(Paperback) =024 7\$a10.21983/P3.0229.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afre$aita =072 7$aDSC$2bicssc =072 7$aLIT014000$2bisacsh =100 1\$aDe Francesco, Alessandro,$eauthor.$uUniversity of Antwerp.$0(orcid)0000000316223682$1https://orcid.org/0000-0003-1622-3682 =245 10$aContinuum :$bWritings on Poetry as Artistic Practice /$cAlessandro De Francesco. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (564 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aContinuum: Writings on Poetry as Artistic Practice reunites the most part of the essays and articles produced between 2007 and 2015 by poet and artist Alessandro De Francesco. It shows what De Francesco himself affirms at a point in the last text of the book: that an artist can also be a theorist, and that artistic practice and theoretical practice are difficult to distinguish in his work. This book is multilingual: each text was left in the language in which it was written. Therefore, it is predominantly in French, but Italian, English and German are also represented. In spite of poetry being at the center of Alessandro De Francesco’s interests as a thinker, the texts contained in this book are very heterogeneous: poetic statements, essays, scientific articles, lectures, interviews; and yet they also show a deep continuity. Continuum stands for the author’s uninterrupted commitment for poetry, for the numerous connections among the approached themes, and especially for the innovatory theoretical and political positions expressed here, from which all these writings originated. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$atheory of poetry =653 \\$aliterary theory =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0229.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0229.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04020nam 22004212 4500 =001 0a8fba81-f1d0-498c-88c4-0b96d3bf2947 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615983912$q(Paperback) =024 7\$a10.21983/P3.0066.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE022000$2bisacsh =100 1\$aHadbawnik, David,$eauthor.$uUniversity at Buffalo, State University of New York. =245 10$aCotton Nero A.x :$bThe Works of the "Pearl" Poet /$cDavid Hadbawnik, Daniel C. Remein, Chris Piuma, Lisa Ampleman. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (54 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aManuscript Cotton Nero A.x takes its designation from the unique cataloging system of seventeenth-century British antiquarian Sir Robert Cotton’s library: busts of historical figures atop shelves provided the organizing principle, such that one found this particular codex under the bust of Roman Emperor Nero, on the top shelf, ten volumes over. (Another famous manuscript, containing Beowulf, is called Cotton Vitellius A.xv.) Cotton Nero A.x contains the only versions of the poems we now know as Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight, generally agreed to have been composed sometime in the latter half of the fourteenth century—the time of Piers Plowman and Geoffrey Chaucer, though radically different from either. No one knows who the poet was. No one knows if more than one poet wrote some or all of the poems. Together, they present a stunning array of themes, allegories, and images that critics continue to puzzle over: Patience offers a psychologically complex rendering of the Old Testament story of Jonah and the whale; Cleanness explores its homiletic theme in carnal and spiritual terms with complexity, irony, and even humor; Pearl provides a dream allegory that pushes at the distinction between its earthly and heavenly meanings, challenging the very notion of metaphysical transcendence its form seems to point towards. Finally, Sir Gawain and the Green Knight, the most secular of the poems, is a sophisticated take on Arthurian legend that unfolds like a psychosexual mystery novel, with no easy solution in sight.All the poems are rendered in a difficult Middle English dialect and intricate alliterative form, which sometimes involves a complex rhyme scheme as well. As poet-medievalists, we bow before the poetic achievement of the works in Cotton Nero A.x in all their multi-faceted richness. This is not a translation, nor an interpretation. It is what might be called a trace. A response. A homework assignment from beyond the grave, for four students who should have known better. A dream we hope to dream. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$atranslation =653 \\$amedieval literature =700 1\$aRemein, Daniel C.,$eauthor.$uNew York University. =700 1\$aPiuma, Chris,$eauthor.$uUniversity of Toronto. =700 1\$aAmpleman, Lisa,$eauthor.$uUniversity of Cincinnati. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0066.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0066.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04342nam 22004812 4500 =001 f01cb60b-69bf-4d11-bd3c-fd5b36663029 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018948912 =020 \\$z9781947447691$q(Paperback) =020 \\$a9781947447707$q(PDF) =024 7\$a10.21983/P3.0207.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aPSAF$2bicssc =072 7$aNAT026000$2bisacsh =072 7$aNAT045000$2bisacsh =072 7$aPST$2thema =072 7$aRNA$2thema =245 00$aCovert Plants :$bVegetal Consciousness and Agency in an Anthropocentric World /$cedited by Prudence Gibson, Brits Baylee. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (266 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCovert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of ‘nature’ and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking.Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal — around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object?A full view of this shifting perspective requires a ‘stereoscopic’ lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling ‘subjects,’ ‘stakeholders,’ or ‘actors.’ As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants’ ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$abioart =653 \\$aplant studies =653 \\$aecology =653 \\$aeco-psychology =653 \\$aenvironmental humanities =700 1\$aGibson, Prudence,$eeditor.$uUniversity of New South Wales.$0(orcid)0000000195867149$1https://orcid.org/0000-0001-9586-7149 =700 0\$aBrits Baylee,$eeditor.$uUniversity of New South Wales. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0207.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0207.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03926nam 22004812 4500 =001 3d78e15e-19cb-464a-a238-b5291dbfd49f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017950838 =020 \\$z9781947447103$q(Paperback) =020 \\$a9781947447110$q(PDF) =024 7\$a10.21983/P3.0178.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aBIO031000$2bisacsh =072 7$aLIT004160$2bisacsh =072 7$aDNC$2thema =072 7$a5PSG$2thema =072 7$aJBSJ$2thema =100 1\$aAlexander, Jonathan,$eauthor.$uUniversity of California, Irvine. =245 10$aCreep :$bA Life, A Theory, An Apology /$cJonathan Alexander. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (172 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCreeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It’s so easy to spy on people that “creep catching” has even become a form of news entertainment in shows such as “To Catch a Predator.” But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title “creep.” Even Donald Trump, during the raucous 2016 campaign, was called a “creep” on several occasions by various news media.Indeed, for many of us, the specter of the creep is not just threatening, but exciting – exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior.In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous “creeps” from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$agay memoir =653 \\$acreepiness =653 \\$ahomophobia =653 \\$asexuality =653 \\$aqueer studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0178.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0178.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02981nam 22004092 4500 =001 f2a2626b-4029-4e43-bb84-7b3cacf61b23 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780988234086$q(Paperback) =024 7\$a10.21983/P3.0146.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPWJ$2bicssc =072 7$aPOL042010$2bisacsh =100 1\$aShantz, Jeff,$eauthor.$uKwantlen Polytechnic University. =245 10$aCrisis States :$bGovernance, Resistance & Precarious Capitalism /$cJeff Shantz. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (82 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis is an age of crisis: economic, political, environmental, and social. Yet the nature of contemporary crisis is often misunderstood. Crisis, rather than being accidental or episodic – as is too often assumed – has been a regular feature of state practice in the neoliberal austerity regimes of contemporary capitalism. In this timely work Jeff Shantz gives special attention to the particular manufactured crises associated with austerity regimes and conditions of precarity within contemporary capitalism, and how Crisis States differ from other forms of state practice.Crisis is a powerful weapon of states and capital in the pursuit of accumulation, exploitation, and control. Engaging insights from anarchism and autonomous Marxism, Shantz lays bare the real nature and character of crisis as political and social pursuits of state and capital under precarious capitalism.Attention is also given to social resistance under crisis state conditions. Contemporary capitalism renders the oppressed and exploited precarious at the same time as opportunities are opened to render the system itself precarious. Understanding Crisis States and precarious capitalism is crucial in considering prospects for resistance. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanarchism =653 \\$aMarxism =653 \\$aUS politics =653 \\$apolitical theory =653 \\$acapitalism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0146.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0146.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04020nam 22005292 4500 =001 9bdf38ca-95fd-4cf4-adf6-ed26e97cf213 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020939532 =020 \\$z9781950192922$q(Paperback) =020 \\$a9781950192939$q(PDF) =024 7\$a10.21983/P3.0277.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aJMAF$2bicssc =072 7$aDSK$2bicssc =072 7$aPSY026000$2bisacsh =072 7$aLIT004260$2bisacsh =072 7$aJMAF$2thema =072 7$aATFA$2thema =072 7$aDSK$2thema =100 1\$aRickels, Laurence A.,$eauthor.$uAcademy of Fine Arts Karlsruhe. =245 10$aCritique of Fantasy, Vol. 1 :$bBetween a Crypt and a Datemark /$cLaurence A. Rickels. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (254 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCritique of Fantasy, Vol. 1: Between a Crypt and a Datemark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy’s restraining order.With George Lucas’s Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud’s notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Günther's reflections in the 1950s on American science fiction – as heralding a new metaphysics and a new planetary going on interstellar civilization – a mainstay of its cultural anthropology with B-genres. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apsychoanalysis =653 \\$acultural studies =653 \\$afilm studies =653 \\$ascience-fiction =653 \\$afantasy =653 \\$aStar Wars =653 \\$afilm studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0277.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0277.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04887nam 22005292 4500 =001 89f9c84b-be5c-4020-8edc-6fbe0b1c25f5 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020939532 =020 \\$z9781953035189$q(Paperback) =020 \\$a9781953035196$q(PDF) =024 7\$a10.21983/P3.0278.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aJMAF$2bicssc =072 7$aDSK$2bicssc =072 7$aPSY026000$2bisacsh =072 7$aLIT004260$2bisacsh =072 7$aJMAF$2thema =072 7$aATFA$2thema =072 7$aDSK$2thema =100 1\$aRickels, Laurence A.,$eauthor.$uAcademy of Fine Arts Karlsruhe. =245 10$aCritique of Fantasy, Vol. 2 :$bThe Contest between B-Genres /$cLaurence A. Rickels. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (234 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn The Contest between B-Genres, the “Space Trilogy” by J.R.R. Tolkien’s friend and colleague C.S. Lewis and the roster of American science fictions that Gotthard Günther selected and glossed for the German readership in 1952 demarcate the ring in which the contestants face off. In carrying out in fiction the joust that Tolkien proclaimed in his manifesto essay “On Fairy-Stories,” Lewis challenged the visions of travel through time and space that were the mainstays of modern science fiction. In the facing corner, Günther recognized in American science fiction the first stirrings of a new mythic storytelling that would supplant the staple of an expiring metaphysics, the fairy-story basic to Tolkien and Lewis’s fantasy genre.The B-genres science fiction and fantasy were contemporaries of cinema’s emergence out of the scientific and experimental study and recording of motion made visible. In an early work like H.G. Wells’s The Time Machine, which Tolkien credited as work of fantasy, the transport through time – the ununderstood crux of this literary experiment – is conveyed through a cinematic–fantastic component in the narrative, reflecting optical innovations and forecasting the movies to come. Although the historical onset of the rivalry between the B-genres is packed with literary examples, adaptation (acknowledged or not) followed out the rebound of wish fantasy between literary descriptions of the ununderstood and their cinematic counterparts, visual and special effects.The arrival of the digital relation out of the crucible of the unknown and the special effect seemed at last to award the fantasy genre the trophy in its contest with science fiction. And yet, although science fiction indeed failed to predict the digital future, fantasy did not so much succeed as draw benefit from the mere resemblance of fantasying to the new relation. While it follows that digitization is the fantasy that is true (and not, as Tolkien had hoped, the Christian Gospel), the newly renewed B-genre without borders found support in another revaluation that was underway in the other B-genre. Once its future orientation was “history,” science fiction began indwelling the ruins of its faulty forecasts. By its new allegorical momentum, science fiction supplied captions of legibility and history to the reconfigured borderlands it cohabited with fantasy. The second volume also attends, then, to the hybrids that owed their formation to these changes, both anticipated and realized. Extending through the topography of the borderlands, works by J.G. Ballard, Ursula Le Guin, and John Boorman, among others, occupy and cathect a context of speculative fiction that suspended and blended the strict contest requirements constitutive of the separate B-genres. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apsychoanalysis =653 \\$acultural studies =653 \\$afilm studies =653 \\$aGotthard Günther =653 \\$ascience fiction =653 \\$afantasy =653 \\$aJ.R.R. Tolkien =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0278.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0278.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 06005nam 22005412 4500 =001 79464e83-b688-4b82-84bc-18d105f60f33 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020939532 =020 \\$z9781953035288$q(Paperback) =020 \\$a9781953035295$q(PDF) =024 7\$a10.21983/P3.0279.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aJMAF$2bicssc =072 7$aDSK$2bicssc =072 7$aPSY026000$2bisacsh =072 7$aLIT004260$2bisacsh =072 7$aJMAF$2thema =072 7$aATFA$2thema =072 7$aDSK$2thema =100 1\$aRickels, Laurence A.,$eauthor.$uAcademy of Fine Arts Karlsruhe. =245 10$aCritique of Fantasy, Vol. 3 :$bThe Block of Fame /$cLaurence A. Rickels. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (240 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn The Block of Fame, Edmund Bergler, like the thirteenth fairy in the “Sleeping Beauty,“ uninvited because there wasn’t an extra place setting, crashes the psychoanalytic poetics of daydreaming with a curse. He charges that the overview, according to which art making rarefies daydreaming and delivers omnipotence, overlooks the underlying defense contract. We are hooked to creativity, because it offers the best defense against acknowledging the ultimate and untenable masochistic wish to be refused. Bergler’s bleak view, which Gilles Deleuze alone acknowledged in his study of Sacher-Masoch, doesn’t make any overall contribution to the aesthetics of fantasying that this critique addresses. However, it is a good fit with the centerpiece of the final volume: the wish for fame or, rather, the recoil of the wish in the wreckage that success brings.Following the opening season of mourning and the experience of phantoms, there is the second death, which is murder. In addition to the deadening end that can only be postponed – the killing off of the dead until dead dead – there is another second death that concludes the wish for fame with a ritual stripping of badges and insignia. Not only are the medals thrown to the ground and the sword broken, but a life’s work passes review. At the close of his career, Freud returned to the environs of the wish, the cornerstone of his science. While his disciples Otto Rank and Hanns Sachs carried out his 1907 insights regarding the poetics of daydreaming to illuminate, respectively, the mythic origin of the hero and the evolution of art out of the mutual daydream, Freud battened down for the end of his world by revisiting the so-called primal fantasy, the myth of the primal father, in Moses and Monotheism. The animal setting that was a given of its premier articulation in Totem and Taboo was a wrap this time around with Freud’s translation of Marie Bonaparte’s transference gift, a memoir recounting her premature mourning for her sick chow and the dog’s recovery from cancer of the jaw.In Bergler’s unconscious system, plagiarism is the conscious variation on the block basic to authorship. Theodor Adorno interpreted the ascendancy of the culture industry leading to and through the Third Reich in terms of the theft of modernism’s critical strategies for promoting the transformation of wish fantasy into the social relation of art. In the course of writing his essay “Notes on Kafka” between 1942 and 1952, Adorno was able to reclaim for aesthetic theory after Auschwitz the “constellation” that he and Benjamin had originally developed to outlast the culture industry’s depravation of the hopefulness of wishing. Adorno gives the sense or direction of the constellation’s recovery when he argues that Kafka’s work stages the final round of the contest between fantasy and science fiction by extrapolating doubling and déjà vu as the portals to a collective future.The wish for fame or to be refused it and the wish to steal this book or undo the delinquency demarcate the final movement of the third volume, which follows out, beginning with Susan Sontag and Gidget, a veritable Bildungsroman of the post-war era’s star, the teenager. Fantasying to make it big time means to be in training for big ideas and big feelings. The romance of fantasying was also reconfigured out of a station break. The Nazi elevation of youth to superego in the Heimat of the Teen Age neutralized adolescent innovation by forgoing the Hamletian stage of metabolization of the death wish. Switching to the other patient, the other teenager at heart, no longer the German but now the American or Californian, this study enters the termination phase of the analysis in the environs of a reach for the stars that is legend. It is the legend to the final volume’s mapping of our second nature as daydreamer believers. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aEdmund Bergler =653 \\$apsychoanalysis =653 \\$acultural studies =653 \\$ascience fiction =653 \\$afantasy =653 \\$awriter's block =653 \\$aSusan Sontag =653 \\$afilm studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0279.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0279.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03711nam 22004092 4500 =001 639a3c5b-82ad-4557-897b-2bfebe3dc53c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692282403$q(Paperback) =024 7\$a10.21983/P3.0114.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI019000$2bisacsh =100 1\$aLombardo, Marc,$eauthor. =245 10$aCritique of Sovereignty, Book 1 :$bContemporary Theories of Sovereignty /$cMarc Lombardo. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (112 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aUsing the Western tradition of metaphysical and political thought as a backdrop, Critique of Sovereignty (a work in 4 volumes) re-examines the concept of sovereignty in order to better understand why our ethical values and technical capacities often seem so divorced from our lived realities. On the one hand, ostensibly self-enclosed entities like the nation-state and the person are rhetorically bolstered as sites of technical agency and/or moral responsibility. On the other hand, these same entities appear fragile — if not purely fictional — in relation to ever ongoing tidal processes such as the migration, diffusion, and conglomeration of bodies, capital, ideas, etc. While some of our institutions might work some of the time, they always seem to work differently than we like to think they do. Accordingly, the forging of more humane institutions might very well entail if not require ways of thinking that strive to undo the self-imagined binds, exceptions, and sureties of thought for the sake of embracing a continuity with all that withers, decays, and falls away.Book I, “Contemporary Theories of Sovereignty,” compares the varied interpretations of sovereignty given by a range of 20th-century political theorists (Maritain, Foucault, Derrida, Schmitt, Agamben, Hardt, and Negri) with Jean Bodin’s initial outline of the concept, rendered at the outset of modern political thought in the 16th century. The analytic framework of sovereignty encountered in these comparative readings provides an initial point of departure for unfolding a method of critique appropriate to the concept of sovereignty. Sovereignty is an ideal starting point for a critique of the deadlocks between thought and reality for a simple reason: it doesn’t actually exist. When it serves as a guide to action, sovereignty may be regarded as a particularly captivating fantasy. The closer it appears, the further it recedes, and, too often, the more vigorously it is pursued. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ahistory =653 \\$apolitics =653 \\$asovereignty =653 \\$apolitical theory =653 \\$aphilosophy =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0114.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0114.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03514nam 22004212 4500 =001 f37627c1-d89f-434c-9915-f1f2f33dc037 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615978956$q(Paperback) =024 7\$a10.21983/P3.0063.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aPOE021000$2bisacsh =100 1\$aStockton, Will,$eauthor.$uClemson University. =245 10$aCrush /$cWill Stockton, D. Gilson. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (120 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write,In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self.Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aqueer studies =653 \\$asexuality =653 \\$agay poetry =653 \\$aerotic literature =653 \\$aWilliam Shakespeare =700 1\$aGilson, D.,$eauthor.$uGeorge Washington University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0063.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0063.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03275nam 22005772 4500 =001 6da2123c-c8ae-4c61-b40d-2080474e2efb =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023951719 =020 \\$z9781685711405$q(Paperback) =020 \\$a9781685711412$q(PDF) =024 7\$a10.53288/0450.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aANF$2bicssc =072 7$aDB$2bicssc =072 7$aDD$2bicssc =072 7$aPER011030$2bisacsh =072 7$aPER011040$2bisacsh =072 7$aATDF$2thema =072 7$aDBSG$2thema =100 1\$aAkavia, Abigail,$eauthor. =245 10$aDancing with Philoctetes :$bReflections on Pain and Remembrance /$cAbigail Akavia. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (116 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAbandoned by his community, doomed to a solitary existence with his voice as sole companion: can Sophocles’ Philoctetes still speak to us? What do his screams have to say?Dancing with Philoctetes: Reflections on Pain and Remembrance juxtaposes a new adaptation of Sophocles’ play with an essay describing the process of bringing it to life in a world on the brink of a pandemic. Akavia investigates Sophocles’ nuanced portrayal of the fragility of empathy in the face of suffering, and also shares the challenges of embodying and vocalizing Sophocles’ text onstage. She proposes that the pandemic and its aftermath offer a renewed perspective on Philoctetes’ thematization, not just of empathy and disease, but of the longing to return: to home, to health, to what memory holds.Akavia’s treatment of Philoctetes starts out from his body and voice and journeys on to loneliness, toxic masculinity, nostalgia, cancer, dreaming, parenthood, language, ballet lessons, siblings, music, and growing up. Here, scholarship and creative non-fiction combine to tell a story of reading, performing, thinking about, and living (through) tragedy. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aSophocles =653 \\$aPhiloctetes =653 \\$aGreek tragedy =653 \\$atheater =653 \\$adramaturgy =653 \\$acontemporary performance practice =653 \\$atranslation =653 \\$adisability =653 \\$aembodiment =653 \\$agrief =653 \\$aempathy =653 \\$avoice =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0450.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0450.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03064nam 22004452 4500 =001 11749800-364e-4a27-bf79-9f0ceeacb4d6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615701073$q(Paperback) =024 7\$a10.21983/P3.0018.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBB$2bicssc =072 7$aLIT004120$2bisacsh =072 7$aLIT011000$2bisacsh =245 00$aDark Chaucer :$bAn Assortment /$cedited by Nicola Masciandaro, Myra Seaman, Eileen A. Joy. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (224 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAlthough widely beloved for its playfulness and comic sensibility, Chaucer’s poetry is also subtly shot through with dark moments that open into obscure and irresolvably haunting vistas, passages into which one might fall head-first and never reach the abyssal bottom, scenes and events where everything could possibly go horribly wrong or where everything that matters seems, if even momentarily, altogether and irretrievably lost. And then sometimes, things really do go wrong. Opting to dilate rather than cordon off this darkness, this volume assembles a variety of attempts to follow such moments into their folds of blackness and horror, to chart their endless sorrows and recursive gloom, and to take depth soundings in the darker recesses of the Chaucerian lakes in order to bring back palm- or bite-sized pieces (black jewels) of bitter Chaucer that could be shared with others . . . an “assortment,” if you will. Not that this collection finds only emptiness and non-meaning in these caves and lakes. You never know what you will discover in the dark. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aChaucer =653 \\$aliterary criticism =653 \\$asarkness =653 \\$apoetry =653 \\$amedieval =700 1\$aMasciandaro, Nicola,$eeditor.$uBrooklyn College. =700 1\$aSeaman, Myra,$eeditor.$uCollege of Charleston. =700 1\$aJoy, Eileen A.,$eeditor.$uSouthern Illinois University Edwardsville.$0(orcid)0000000253093189$1https://orcid.org/0000-0002-5309-3189 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0018.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0018.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02143nam 22004212 4500 =001 7fe2c6dc-6673-4537-a397-1f0377c2296f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237589$q(Paperback) =024 7\$a10.21983/P3.0160.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aBIO019000$2bisacsh =100 1\$aNoterdaeme, Filip,$eauthor. =245 10$aDear Professor :$bA Chronicle of Absences /$cFilip Noterdaeme. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (278 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDear Professor: A Chronicle of Absences is a collection of over two hundred often involuntarily comical emails in which students excuse themselves for missing class. The result is a satirical yet unexpectedly sympathetic collective portrait of modern-day academia where both students and teachers feel pressured to comply with the impositions of hyper-connectivity. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acorrespondence =653 \\$ahumor =653 \\$astudent life =653 \\$auniversity life =653 \\$aprofessor–student emails =700 1\$aCohen, Shuki,$eafterword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0160.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0160.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03453nam 22004212 4500 =001 0985e294-aa85-40d0-90ce-af53ae37898d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237541$q(Paperback) =024 7\$a10.21983/P3.0161.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI035000$2bisacsh =245 00$aDeleuze and the Passions /$cedited by Ceciel Meiborg, Sjoerd van Tuinen. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (182 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn recent years the humanities, social sciences and neuroscience have witnessed an ‘affective turn,’ especially in discourses around post-Fordist labor, economic and ecological crises, populism and identity politics, mental health, and political struggle. This new awareness would be unthinkable without the pioneering work of Gilles Deleuze, who replaced judgment with affect as the very material movement of thought: every concept is an affective experience, a becoming. Besides entirely active affects, the highest practice of thought, there is no thought without passive affects or passions. Instead of a calm and rational philosophy of passions, Deleuzian thought is therefore inseparable from “isolated and passionate cries” that deny what everybody knows and what nobody can deny: “every true thought is an aggression.”This inseparability of reason and passion is by no means an anti-intellectualist or irrationalist stance. Rather, it is critical, since it protects reason from its self-imposed stupidity (bêtise) by relating it to the unthought forces that condition it. And it is clinical, because thought becomes possessed by a power of selection. The purely active, i.e. free-floating, unrecorded desire, is never enough to produce a consistent relation to the future, which is why we need the passions to give us an initial orientation, to force and enable us to think. Passions are the beliefs, perceptions, representations, and opinions that attach us to the world; they make up the very material of which our lives and thoughts are composed. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aGilles Deleuze =653 \\$aaffect studies =653 \\$aphilosophy =653 \\$aontology =653 \\$aphenomenology =700 1\$aMeiborg, Ceciel,$eeditor.$uNew School. =700 1\$avan Tuinen, Sjoerd,$eeditor.$uErasmus University Rotterdam.$0(orcid)000000021383259X$1https://orcid.org/0000-0002-1383-259X =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0161.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0161.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02575nam 22004212 4500 =001 9e6bb4d8-4e05-4cd7-abe9-4a795ade0340 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531892$q(Paperback) =024 7\$a10.21983/P3.0172.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aPHI043000$2bisacsh =072 7$aSOC064000$2bisacsh =245 00$aDerrida and Queer Theory /$cedited by Christian Hite. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (294 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aComing from behind (derrière)—how else to describe a volume called “Derrida and Queer Theory”? — as if arriving late to the party, or, indeed, after the party is already over. After all, we already have Deleuze and Queer Theory and, of course, Saint Foucault. And judging by Annamarie Jagose’s Queer Theory: An Introduction, in which there is not a single mention of “Derrida” (or “deconstruction”) — even in the sub-chapter titled “The Post-Structuralist Context of Queer” — one would think that Derrida was not only late to the party, but was never there at all.This untimely volume, then, with wide-ranging essays from key thinkers in the field, addresses, among other things, what could be called the disavowed debt to “Derrida” in canonical “queer theory.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJacques Derrida =653 \\$aqueer theory =653 \\$agender =653 \\$asexuality =653 \\$adeconstruction =700 1\$aHite, Christian,$eeditor.$uUniversity of Southern California. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0172.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0172.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02962nam 22005412 4500 =001 940d0880-83b5-499d-9f39-1bf30ccfc4d0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020951163 =020 \\$z9781953035301$q(Paperback) =020 \\$a9781953035318$q(PDF) =024 7\$a10.21983/P3.0315.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aURD$2bicssc =072 7$aUYZ$2bicssc =072 7$aCOM079010$2bisacsh =072 7$aCOM079000$2bisacsh =072 7$aSOC071000$2bisacsh =072 7$aURY$2thema =072 7$aURD$2thema =072 7$aJBCT1$2thema =245 00$aBook of Anonymity /$cedited by Anon Collective. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (486 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAnonymity is highly contested, marking the limits of civil liberties and legality. Digital technologies of communication, identification, and surveillance put anonymity to the test. They challenge how anonymity can be achieved, and dismantled. Everyday digital practices and claims for transparency shape the ways in which anonymity is desired, done, and undone.The Book of Anonymity includes contributions by artists, anthropologists, sociologists, media scholars, and art historians. It features ethnographic research, conceptual work, and artistic practices conducted in France, Germany, India, Iran, Switzerland, the UK, and the US. From police to hacking cultures, from Bitcoin to sperm donation, from Yik-Yak to Amazon and IKEA, from DNA to Big Data — thirty essays address how the reconfiguration of anonymity transforms our concepts of privacy, property, self, kin, addiction, currency, and labor. =536 \\$aVolkswagen Foundation =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAnonymity =653 \\$aData Security, =653 \\$aSurveillance =653 \\$aPersonhood =653 \\$aPrivacy =653 \\$aDigital Cultures =653 \\$aArt-Science Collaboration =700 0\$aAnon Collective,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0315.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0315.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03934nam 22005172 4500 =001 1b4311ff-58e8-43ef-bb1b-b42d25bc4b2d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024946163 =020 \\$z9781685712501$q(Paperback) =020 \\$a9781685712518$q(PDF) =024 7\$a10.53288/0528.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hspa =072 7$aPOE005070$2bisacsh =072 7$aDCF$2thema =072 7$aDCC$2thema =100 1\$aPonce, Néstor,$eauthor.$uUniversity of Rennes 2. =245 10$aboy says :$b(a book with no ending) /$cNéstor Ponce; translated by Max Ubelaker Andrade. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (124 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhere does your voice come from? The one you speak with, or the one you read with? What does it sound like when you read, silently, to yourself? There are the first influences, or at least the ones that first come to mind. But you quickly admit that there are others as well. The voices that emerged from different styles, tones, and patterns in books, stories, poems. From songs and television programs, family members and teachers. There are the voices that you don’t remember as voices, the words you don’t remember reading. This voice, this combination of symbols describing a translated book of poetry, for example, might be acknowledged as the very latest influence in your life.After leaving Argentina in exile during the dictatorship of the military junta (1976-1983), Néstor Ponce found his way to France, where he now lives. He has written that throughout his life, reading has connected him to a shifting, unstable set of voices—a community of readers and writers that crisscrosses borders of all kinds, unafraid of conflict and contradiction. boy says (a book with no ending) opens to that community with poems that are at once the words of one poet and the traces of an infinite number of poets, some of whom are explicitly named in the titles of the poems.This bilingual English–Spanish edition is an open library that is also a private one, made public. As you read, it might be difficult not to ask questions about Nazim Hikmet, Alejandra Pizarnik, Dina Posada, Eugenio Montale, Anna Greki, or Édouard Glissant. And it will be impossible to answer those questions without finding their books, opening them, and hearing your voice shaped by their and Ponce’s words. =536 \\$aMinisterio de Relaciones Exteriores, Comercio Internacional y Culto$eSur Translation Support Programme =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aArgentina =653 \\$aliterary influence =653 \\$aauthorship =653 \\$aliterary community =653 \\$aopen library =653 \\$apoetic voice =653 \\$aliterary identity =700 1\$aUbelaker Andrade, Max,$etranslator.$uUniversity of Massachusetts Lowell.$0(orcid)0009000361993149$1https://orcid.org/0009-0003-6199-3149 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0528.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0528.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03767nam 22006132 4500 =001 3ccdbbfc-6550-49f4-8ec9-77fc94a7a099 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022930407 =020 \\$z9781685710583$q(Paperback) =020 \\$a9781685710590$q(PDF) =024 7\$a10.53288/0341.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$ajpn$hita =072 7$aAGB$2bicssc =072 7$aACXJ5$2bicssc =072 7$a1DVWA$2bicssc =072 7$aART037000$2bisacsh =072 7$aART016030$2bisacsh =072 7$aAGB$2thema =072 7$a1DXA$2thema =072 7$a1DXA-AL-T$2thema =072 7$a6CK$2thema =100 1\$aMazzi, Marco,$eauthor. =245 10$aBroken Narrative :$bThe Politics of Contemporary Art in Albania /$cMarco Mazzi, Armando Lulaj; translated by Brenda Porster, Tomii Keiko. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (364 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBroken Narrative provides an extensive reflection on history, politics, and contemporary art, revolving around the cornerstones of the artistic practice of Albanian artist Armando Lulaj. The core of the book is formed by and extended interview of Lulaj by Italian artist and writer Marco Mazzi. This inquiry starts in the year 1997, a year of social and political upheaval in Albania, of anarchy, controversies and emigration, of toxic seeds of neoliberalism sprouting in an already wounded country, and continues to the present day, where politics, hidden behind art forms, has practically destroyed (again) every different and possible future of the country. This book also sketches out a connection between the recent Albanian political context and contemporary art by considering the realities of Albania as essential for an understanding of the dynamics of international power in contemporary art and architecture, and the role of politics therein.Broken Narrative comes in a bilingual English–Japanese edition, in part as homage to the subtle esthetics of Japanese poetry, which has inspired many of the Lulaj’s works, while equally evoking the subversive films of the Red Army, active in Japan at the turn of the 1960s and ’70s. Broken Narrative contains a double preface in English by Albanian scholar Jonida Gashi and in Japanese by photographer Osamu Kanemura. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAlbania =653 \\$apolitical art =653 \\$apost-communism =653 \\$aresistance =653 \\$apublic space =653 \\$aesthetics =653 \\$astate capture =700 1\$aLulaj, Armando,$eauthor. =700 1\$aPorster, Brenda,$etranslator. =700 0\$aTomii Keiko,$etranslator. =700 1\$aGashi, Jonida,$epreface by.$uAcademy of Sciences of Albania. =700 1\$aKanemura, Osamu,$epreface by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0341.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0341.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03295nam 22003972 4500 =001 006571ae-ac0e-4cb0-8a3f-71280aa7f23b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615949468$q(Paperback) =024 7\$a10.21983/P3.0137.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =100 1\$aŽabić, Snežana,$eauthor.$uLoyola University Chicago. =245 10$aBroken Records /$cSnežana Žabić. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (192 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 1991, Snežana Žabić lost her homeland and most of her family’s book and record collection during the Yugoslav Wars that had been sparked by Slobodan Milošević’s relentless pursuit of power. She became a teenage refugee, forced to flee Croatia and the atrocities of war that had leveled her hometown of Vukovar. She and her family remained refugees in Serbia until NATO bombed Belgrade in 1999.After witnessing the first nights of NATO’s bombing, Žabić took flight again. She moved from country to country, city to city, finally settling in Chicago. She realized — reluctantly, because she didn’t want to relive the past — that she had to write about what had happened, what she had left behind, and what she had lost. Broken Records is the story of this loss, told with unflinching honesty, free of sentimentality or sensationalism. For the very first time, we learn how it felt to be first a regular teenager during the breakup of Yugoslavia and the ensuing wars, and then a 30-something adult, perennially troubled by one’s uprooted existence.Broken Records is not a neat narrative but a bit of everything — part bildungsroman, part memoir, part political poetry, part personal pop culture compendium. And while Žabić represents a Yugoslav diasporan subject, her book also belongs to an international generation whose formative years straddle the Cold War and the global reconfiguration of wealth and power, whose lives were spent shifting from the vinyl/analog era to the cyber/digital era. This generation knows that when they were told about history ending, they were told a lie.. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemoir =653 \\$afiction =653 \\$adiscography =653 \\$aYugoslav Wars =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0137.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0137.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03223nam 22005412 4500 =001 a57c6271-1af0-42c7-ac8c-e11e8a64009f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022936486 =020 \\$z9781685710484$q(Paperback) =020 \\$a9781685710491$q(PDF) =024 7\$a10.53288/0393.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPK$2bicssc =072 7$aHPCF3$2bicssc =072 7$aFIC057000$2bisacsh =072 7$aPHI014000$2bisacsh =072 7$aFYM$2thema =072 7$aQDTK$2thema =072 7$aQDHR5$2thema =100 1\$aSondheim, Alan,$eauthor.$0(orcid)0000000261211288$1https://orcid.org/0000-0002-6121-1288 =245 10$aBroken Theory /$cAlan Sondheim. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (226 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBroken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance.Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amedia theory =653 \\$aembodiment =653 \\$acodework =653 \\$afailure =653 \\$aphilosophy =653 \\$amultimedia art =653 \\$anew media =700 1\$aDamon, Maria,$epreface by. =700 1\$aWhyte, Ryan,$eafterword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0393.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0393.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03670nam 22004932 4500 =001 47c71c05-a4f1-48da-b8d5-9e5ba139a8ea =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022938771 =020 \\$z9781685710286$q(Paperback) =020 \\$a9781685710293$q(PDF) =024 7\$a10.53288/0372.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMVD$2bicssc =072 7$aJFSL3$2bicssc =072 7$aARC010000$2bisacsh =072 7$aSOC056000$2bisacsh =072 7$aAMVD$2thema =072 7$aJBSL$2thema =072 7$a5PBD$2thema =100 1\$aMason, Elliot C.,$eauthor.$uUppsala University.$0(orcid)0000000304482329$1https://orcid.org/0000-0003-0448-2329 =245 10$aBuilding Black :$bTowards Antiracist Architecture /$cElliot C. Mason. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (256 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBuilding Black: Towards Antiracist Architecture brings together the forefronts of Black Studies and architectural theory. Only recently, architecture and urban planning have started to confront their constitution of race as a social referent, and their part in the establishment of racist logics. This confrontation usually results in projects that respond to their surroundings, that merge into a changing and multicultural city. Building Black, however, proposes the construction of a Black radical position: building islands of resistance against the expanding sea of imperial architecture.In Building Black, Mason reads the racial meaning of current construction projects in England through the histories of race and architecture. Closely reading Immanuel Kant’s formulation of the Subject as the creator of space and the development of whiteness in Modernist architecture, Mason finds that Blackness is an ongoing, antecedent island that can never quite be subsumed in the racializing project of modernity. Pushing this further, he positions antiracist architecture on a self-enclosed island de-linked from the city, preserving a sociality that cannot be incorporated into liberal universality.Alongside sustained critiques of architectural theory and Western philosophy, and close engagements with Black Studies and Indigenous thinking, Mason offer a critique of the writing subject as a collaborator in the racialization of urban cartography. In response, Mason turns inwards in this book, opening the impossibility of the writer’s position in architecture and philosophy, and setting up an alternative mode of self-critical architectural writing. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aantiracism =653 \\$aarchitecture =653 \\$aBlack studies =653 \\$arace =653 \\$aurban planning =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0372.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0372.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03296nam 22005052 4500 =001 dd9008ae-0172-4e07-b3cf-50c35c51b606 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021947619 =020 \\$z9781953035721$q(Paperback) =020 \\$a9781953035738$q(PDF) =024 7\$a10.53288/0356.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$a5SG$2bicssc =072 7$aBIO031000$2bisacsh =072 7$aBIO026000$2bisacsh =072 7$aDNC$2thema =072 7$a5PSG$2thema =100 1\$aAlexander, Jonathan,$eauthor.$uUniversity of California, Irvine. =245 10$aBullied :$bThe Story of an Abuse /$cJonathan Alexander. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (182 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat happens when the defining moment of your life might be a figment of your imagination? How do you understand — and live with — definitive feelings of having been abused when the origin of those feelings won’t adhere to a singular event but are rather diffused across years of experience?In Bullied: The Story of an Abuse, Jonathan Alexander meditates on how, as a young man, he struggled with the realization that the story he’d been telling himself about being abused by a favorite uncle as a child might actually just have been a “story” — a story he told himself and others to justify both his lifelong struggle with anxiety and to explain his attraction to other men. Story though it was, Alexander maintains that some form of abuse did occur.In writing that is at turns reflective, analytic, and hallucinatory, Alexander traces what it means to suffer homophobic abuse when such is diffused across multiple actors and locales, implicating a family, a school, a culture, and a politics — as opposed to a singular individual who just happened to be the only openly gay man in young Alexander’s life.Along the way, Alexander reflects on Jussie Smollett, drug abuse, MAGA-capped boys, sadomasochism, Catholic priests, cruising, teaching young adult fiction about rape, and a host of other oddly but intimately related topics. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemoir =653 \\$aLGBT =653 \\$asexual abuse =653 \\$acoming out =653 \\$abullying =653 \\$atrauma =653 \\$aBDSM =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0356.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0356.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03704nam 22004212 4500 =001 eb8a2862-e812-4730-ab06-8dff1b6208bf =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692204412$q(Paperback) =024 7\$a10.21983/P3.0067.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aCBW$2bicssc =072 7$aLIT011000$2bisacsh =245 00$aBurn after Reading: Vol. 1, Miniature Manifestos for a Post/medieval Studies + Vol. 2, The Future We Want: A Collaboration /$cedited by Eileen A. Joy, Myra Seaman, Jeffrey Jerome Cohen. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (226 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe essays, manifestos, rants, screeds, pleas, soliloquies, telegrams, broadsides, eulogies, songs, harangues, confessions, laments, and acts of poetic terrorism in these two volumes — which collectively form an academic “rave” — were culled, with some later additions, from roundtable sessions at the International Congress on Medieval Studies in 2012 and 2013, organized by postmedieval: a journal for medieval cultural studies and the BABEL Working Group (“Burn After Reading: Miniature Manifestos for a Post/medieval Studies,” “Fuck This: On Letting Go,” and “Fuck Me: On Never Letting Go”) and George Washington University’s Medieval and Early Modern Studies Institute (“The Future We Want: A Collaboration”), respectively. Gathering together a rowdy multiplicity of voices from within medieval and early modern studies, these two volumes seek to extend and intensify a conversation about how to shape premodern studies, and also the humanities, in the years ahead. Authors in both volumes, in various ways, lay claim to the act(s) of manifesting, and also anti-manifesting, as a collective endeavor that works on behalf of the future without laying any belligerent claims upon it, where we might craft new spaces for the University-at-large, which is also a University that wanders, that is never just somewhere, dwelling in the partitive — of a particular place — but rather, seeks to be everywhere, always on the move, pandemic, uncontainable, and always to-come, while also being present/between us (manifest). This is not a book, but a blueprint. It is also an ephemeral gathering in the present tense. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ahumanities =653 \\$amedieval studies =653 \\$aearly modern studies =653 \\$auniversity =700 1\$aJoy, Eileen A.,$eeditor.$uSouthern Illinois University Edwardsville.$0(orcid)0000000253093189$1https://orcid.org/0000-0002-5309-3189 =700 1\$aSeaman, Myra,$eeditor.$uCollege of Charleston. =700 1\$aCohen, Jeffrey Jerome,$eeditor.$uGeorge Washington University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0067.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0067.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03650nam 22004932 4500 =001 61889673-2fc3-402a-a916-a3f0714b1ba8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024945546 =020 \\$z9781685711740$q(Paperback) =020 \\$a9781685711757$q(PDF) =024 7\$a10.53288/0468.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aSOC002010$2bisacsh =072 7$aDES008000$2bisacsh =072 7$aSOC019000$2bisacsh =072 7$aJHMC$2thema =072 7$aAKC$2thema =100 1\$aPartridge, Tristan,$eauthor.$uUniversity of California, Santa Barbara.$0(orcid)0000000337708494$1https://orcid.org/0000-0003-3770-8494 =245 10$aBurning Diagrams in Anthropology :$bAn Inverse Museum /$cTristan Partridge. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (214 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBurning Diagrams in Anthropology examines the use of diagrams in anthropology to reimagine how we think about, and challenge, intellectual histories. Highlighting the impossibility of escaping what different disciplines and institutions deem to be “past,” the author combines critical analysis of selected diagrams with an expansive, exploratory reimmersion in their aesthetic, ethical, and political potential.Diagrams persist. Yet while other visual components of scholarly work – especially photography, cartography, and film – have been subject to significant critical scrutiny, diagrams have received far less reflexive attention. Reversing this trend, Partridge presents a collection of 52 diagrams, covering a period of 150 years, to create an “inverse museum” – a space where the collection matters less than reactions to it. While the images are drawn from sociocultural anthropology, they are discussed in dialogue with approaches from philosophy, postcolonial studies, architecture, aesthetics, posthumanism, and critical art theory.Dissecting the notion of The Canon in order to confront academic complicity in hierarchical and racialized relations of inequality, the figurative burning of the title refers to how we might prepare the ground for scholarly work that meets the immediate, collective needs of an Earth in crisis – not least, by refusing adherence to disciplinary normalcy. By refusing this adherence, Partridge reaffirms knowledge creation in general, and anthropology in particular, as deeply ethical, creative, and relational processes. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adiagrams =653 \\$aanthropological theory =653 \\$avisual anthropology =653 \\$acritical history =653 \\$atemporality =653 \\$atransgression =653 \\$arelationality =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0468.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0468.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02789nam 22005052 4500 =001 39784316-7e34-42dc-8e13-32b3a1f01a00 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023934873 =020 \\$z9781685711344$q(Paperback) =020 \\$a9781685711351$q(PDF) =024 7\$a10.53288/0500.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC019000$2bisacsh =072 7$aFIC038000$2bisacsh =072 7$aFBA$2thema =100 1\$aNufer, Doug,$eauthor. =245 10$aBy Kelman Out of Pessoa /$cDoug Nufer. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (216 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 2002, Doug Nufer wrote a story narrated by a tout, who proposed a novel way to beat the races. It was so absurd and ludicrous it gave him an idea. So Nufer went to Emerald Downs, home of thoroughbred racing in the Northwest. There, he split himself into three characters modeled on the heteronyms of Fernando Pessoa. Using a money management plan from a James Kelman short story, Nufer gave these characters money and set them free to gamble. He returned to the track every week for a full season, and his characters/heteronyms continued to bet, with real money and in the name of art. At the end of the season, he had pages of data in the form of a wagering diary, the outcome of a literary experiment that formed the basis of a literal experimental novel. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aexperimental writing =653 \\$aheteronymy =653 \\$aOulipo =653 \\$ahorse racing =653 \\$abetting =653 \\$aFernando Pessoa =653 \\$aJames Kelman =700 1\$aBury, Louis,$eintroduction by.$uNew York University.$0(orcid)0000000194647945$1https://orcid.org/0000-0001-9464-7945 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0500.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0500.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03454nam 22004332 4500 =001 46344fe3-1d72-4ddd-a57e-1d3f4377d2a2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017962641 =020 \\$z9781947447400$q(Paperback) =020 \\$a9781947447417$q(PDF) =024 7\$a10.21983/P3.0192.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHRKP3$2bicssc =072 7$aLIT004190$2bisacsh =100 1\$aHudson, Martyn,$eauthor.$uNewcastle University. =245 10$aCentaurs, Rioting in Thessaly :$bMemory and the Classical World /$cMartyn Hudson. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (116 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book treads new paths through the labyrinths of our human thought. It meanders through the darkness to encounter the monsters at the heart of the maze: Minotaurs, Centaurs, Automata, Makers, Humans. One part of our human thought emerges from classical Ionia and Greek civilisation more generally. We obsessively return to that thought, tread again its pathways, re-enact its stories, repeat its motifs and gestures. We return time and time again to construct and re-construct the beings which were part of its cosmology and mythology – stories enacted from a classical world which is itself at once imaginary and material.The “Never Never Lands” of the ancient world contain fabulous beasts and humans and landscapes of desire and violence. We encounter the rioting Centaurs there and never again cease to conjure them up time and time again through our history. The Centaur mythologies display a fascination with animals and what binds and divides human beings from them. The Centaur hints ultimately at the idea of the genesis of civilisation itself.The Labyrinth, constructed by Daedalus, is itself a prison and a way of thinking about making, designing, and human aspiration. Designed by humans it offers mysteries that would be repeated time and time again – a motif which is replicated through human history. Daedalus himself is an archetype for creation and mastery, the designer of artefacts and machines which would be the beginning of forays into the total domination of nature.Centaurs, Labyrinths, Automata offer clues to the origins and ultimately the futures of humanity and what might come after it. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aclassical literature =653 \\$aancient history =653 \\$amonsters =653 \\$amythology =653 \\$acentaurs =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0192.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0192.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03885nam 22003972 4500 =001 7f1d3e2e-c708-4f59-81cf-104c1ca528d0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692541555$q(Paperback) =024 7\$a10.21983/P3.0117.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aART057000$2bisacsh =100 1\$aVitanza, Victor J.,$eauthor.$uClemson University. =245 10$aChaste Cinematics /$cVictor J. Vitanza. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (278 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aVictor J. Vitanza (author of Sexual Violence in Western Thought and Writing) continues to rethink the problem of sexual violence in cinema and how rape is often represented in “chaste” ways, in the form of a Chaste Cinematics. Vitanza continues to discuss Chaste Cinematics as participating in transdisciplinary-rhetorical traditions that establish the very foundations (groundings, points of stasis) for nation states and cultures. In this offering, however, the initial grounding for the discussions is “base materialism” (George Bataille): divine filth, the sacred and profane. It is this post-philosophical base materialism that destabilizes binaries, fixedness, and brings forth excluded thirds. Vitanza asks: why is it that a repressed third, or a third figure, returns, most strangely as a “product” of rape and torture? He works with Jean-Paul Sartre and Page duBois’s suggestion that the “product” is a new “species.”Always attempting unorthodox ways of approaching social problems, Vitanza organizes his table of contents as a DVD menu of “Extras” (supplements). This menu includes Alternate Endings and Easter Eggs as well as an Excursus, which invokes readers to take up the political exigency of the DVD-Book. Vitanza’s first “Extra” studies a trio of films that need to be reconsidered, given what they offer as insights into Chaste Cinematics: Amadeus (a mad god), Henry Fool (a foolish god), and Multiple Maniacs (a divine god who is raped and eats excrement). The second examines Helke Sander’s documentary Liberators Take Liberties, which re-thinks the rapes of German women by the Russians and Allies during the Battle of Berlin. The third rethinks Margie Strosser’s video-film Rape Stories that calls for revenge. In the Alternate Endings, Vitanza rethinks the problem of reversibility in G. Noé’s Irréversible. In the Easter Eggs, he considers Dominique Laporte’s “the Irreparable,” as the object of loss and Giorgio Agamben’s “the Irreparable,” as hope in what is without remedy. The result is not another film-studies book, but a new genre, a new set of rhetorics, for new ways of thinking about cinematics, perhaps postcinematics. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$arape =653 \\$afilm theory =653 \\$asexual violence =653 \\$arhetoric =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0117.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0117.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04461nam 22005172 4500 =001 4d0430e3-3640-4d87-8f02-cbb45f6ae83b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023935953 =020 \\$z9781685710200$q(Paperback) =020 \\$a9781685710217$q(PDF) =024 7\$a10.53288/0362.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSC$2bicssc =072 7$a2ABC$2bicssc =072 7$aJMAF$2bicssc =072 7$aLIT004120$2bisacsh =072 7$aLIT011000$2bisacsh =072 7$aPSY026000$2bisacsh =072 7$aDSC$2thema =072 7$a2ACBC$2thema =072 7$aJMAF1$2thema =100 1\$aThormann, Janet,$eauthor.$uCollege of Marin. =245 10$aChaucer's Comic Providence /$cJanet Thormann, Aranye Fradenburg Joy. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (208 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aChaucer’s Comic Providence presents readings of five of Chaucer’s Canterbury Tales that dramatize sexual division and the lack of rapport between the sexes. These readings are founded on the psychoanalytic thinking of Jacques Lacan in his rereading of Freud and are motivated by Thormann’s conviction that Chaucer understood what psychoanalysis would come to study as an unconscious operating in the subject that is independent of conscious control and desire. For psychoanalysis, the subject is interminably engaged with unconscious sexual difference and with what Lacan saw as the absence of sexual rapport. Chaucer’s Comic Providence analyzes Chaucer’s plots of sexual adventures, mishaps, and surprise to show how the five tales dramatize the lack of symmetry and absence of accord between the sexes.Ultimately, Thormann’s interest here is in the ways these five narratives represent and deal with sexual division, in their means of handling what, in any case, cannot be avoided or mastered. Consequently, the resolutions of the narratives sponsor an ethics of desire: they affirm sexual pleasure and acknowledge misprision and limitation, but they do not compromise, close down, or finish with incompatibility, contraction, and limitation. Her reading, then, claims that Chaucer’s poetry already reveals the unconscious that Freud is credited with discovering. As well, Chaucer not only anticipates Lacan’s pronouncement that “the unconscious is structured like a language,” but also his emphasis on unconscious sexual difference and the absence of rapport between the sexes.With few exceptions, while there has been much consideration of gender in Chaucer’s stories, contemporary criticism of Chaucer has remained inimical or, at the least, largely indifferent, to psychoanalysis, yet because it considers both difference and continuity, change and perpetuation, and because it incorporates psychic processes, motives, functions, and dynamics operating outside of conscious awareness, psychoanalysis offers a wider range for analysis of Chaucer’s tales than does gender theory alone. Chaucer’s Comic Providence also addresses the unexpected, surprising, and providentially comic resolutions of Chaucer’s tales, the concomitant abeyance of sexual conflicts, and the links between emergence and abeyance, which issue in the hope of a beneficent future. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aChaucer =653 \\$apsychoanalysis =653 \\$aJacques Lacan =653 \\$aCanterbury Tales =700 1\$aFradenburg Joy, Aranye,$eauthor.$uUniversity of California, Santa Barbara. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0362.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0362.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02681nam 22004332 4500 =001 b2d1b2e3-226e-43c2-a898-fbad7b410e3f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017949734 =020 \\$z9781947447080$q(Paperback) =020 \\$a9781947447097$q(PDF) =024 7\$a10.21983/P3.0186.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aBIO001000$2bisacsh =245 00$aChristina McPhee :$bA Commonplace Book /$cedited by Eileen A. Joy. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (166 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aChristina McPhee’s ‘commonplace book’ draws from a palimpsest of handwritten notes, lists, quotations, bibliographic fragments, and sketches, from an artist whose voracious reading practice is a direct feed into her life and art — all set to a visual and textual design-as-score, as prominent writers on painting, media arts, performance, video installation and poetics engage with her ‘open-work’ practice. Christina McPhee’s images move from within a matrix of abstraction, shadowing figures and contingent effects. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war.This ‘commonplace book’ develops a view of recent work in collaged paintings, drawings, photomontage and video installation, around themes of environmental transformation and ‘post-natural’ community. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$aart practice =653 \\$adeep ecology =653 \\$adigital media =653 \\$aenvironmental art =700 1\$aJoy, Eileen A.,$eeditor.$0(orcid)0000000253093189$1https://orcid.org/0000-0002-5309-3189 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0186.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0186.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03110nam 22004812 4500 =001 45aa16fa-5fd5-4449-a3bd-52d734fcb0a9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021939314 =020 \\$z9781953035622$q(Paperback) =020 \\$a9781953035639$q(PDF) =024 7\$a10.53288/0320.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aART057000$2bisacsh =072 7$aART009000$2bisacsh =072 7$aATFA$2thema =072 7$aFDK$2thema =100 1\$aDibbern, Doug,$eauthor.$uNew York University.$0(orcid)000000020459450X$1https://orcid.org/0000-0002-0459-450X =245 10$aCinema's Doppelgängers /$cDoug Dibbern. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (386 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aalternative realism =653 \\$acinema =653 \\$afilm studies =653 \\$afilm history =653 \\$ahistoriography =653 \\$aspeculative fiction =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0320.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0320.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05928nam 22004692 4500 =001 84447325-88e2-4658-8597-3f2329451156 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531854$q(Paperback) =024 7\$a10.21983/P3.0167.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJMAF$2bicssc =072 7$aPSY026000$2bisacsh =072 7$aSOC064000$2bisacsh =072 7$aJMAF$2thema =072 7$aJBSJ$2thema =245 00$aClinical Encounters in Sexuality :$bPsychoanalytic Practice and Queer Theory /$cedited by Noreen Giffney, Eve Watson. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (494 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =505 0\$aIntroduction: Clinical Encounters in Sexuality: Psychoanalytic Practice and Queer Theory, by Noreen GiffneySECTION 1: QUEER  THEORIES /Chapter 1 [Identity]: Precarious Sexualities: Queer Challenges to Psychoanalytic and Social Identity Categorisation, by Alice Kuzniar -- Chapter 2 [Desire]: Are We Missing Something? Queer Desire, by Lara Farina -- Chapter 3 [Pleasure]: Jouissance: The Gash of Bliss, by Kathryn Bond Stockton -- Chapter 4 [Perversion]: Perversion and the Problem of Fluidity and Fixity, by Lisa Downing -- Chapter 5 [Ethics]: Out of Line, On Hold: D.W. Winnicott’s Queer Sensibilities, by Michael D. Snediker -- Chapter 6 [Discourse]: Discourse and the History of Sexuality, by Will StocktonSECTION 2: PSYCHOANALYTIC RESPONSES /Chapter 7: On Not Thinking Straight: Comments on a Conceptual Marriage, by R.D. Hinshelwood -- Chapter 8: Queer as a New Shelter from Castration, by Abe Geldhof and Paul Verhaeghe -- Chapter 9: The Redress of Psychoanalysis, by Ann Murphy -- Chapter 10: Queer Directions from Lacan, by Ian Parker -- Chapter 11: Queer Theory Meets Jung, by Claudette Kulkarni -- Chapter 12: Queer Troubles for Psychoanalysis, by Carol Owens -- Chapter 13: Clinique, by Aranye Fradenburg -- Chapter 14: From Tragic Fall to Programmatic Blueprint: ‘Behold this is Oedipus …’ by Olga Cox Cameron -- Chapter 15: Enigmatic Sexuality, by Katrine Zeuthen and Judy Gammelgaard -- Chapter 16: The Transforming Nexus: Psychoanalysis, Social Theory and Queer Childhood, by Ken Corbett -- Chapter 17: Clinical Encounters: The Queer New Times, by Rob Weatherill -- Chapter 18: Undoing Psychoanalysis: Towards a Clinical and Conceptual Metistopia, by Dany Nobus -- Chapter 19: ‘You make me feel like a natural woman’: Thoughts on a Case of Transsexual Identity Formation and Queer Theory, by Ami Kaplan -- Chapter 20: Sexual Difference: From Symptom to Sinthome, by Patricia GheroviciSECTION 3: RESPONSES TO PSYCHOANALYTIC PRACTICES ENCOUNTERING QUEER THEORIES /Chapter 21: A Plague on Both Your Houses, by Stephen Frosh -- Chapter 22: Something Amiss, by Jacqueline Rose -- Chapter 23: Taking Shelter from Queer, by Tim Dean -- Chapter 24: Courageous Drawings of Vigilant Ambiguities, by Noreen O’Connor -- Chapter 25: Understanding Homophobia, by Mark J. Blechner -- Chapter 26: Transgender and Psychoanalysis, by Susan Stryker -- Chapter 27: The Psychoanalysis that Dare Not Speak Its Name, Ona NierenbergABOUT THE COVER / On the Not-Meanings of Karla Black's There Can Be No Arguments, by Medb RuaneAFTERWORD, by Eve Watson =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aClinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an effort to think about a range of issues relating to sexuality from a clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perversion, ethics and discourse. The editors, Noreen Giffney and Eve Watson, have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and discourse. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are sometimes at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clinical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. The volume also stages, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in clinical readers about sexuality which historically has tended toward reification =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aclinical psychology =653 \\$asexuality =653 \\$aqueer studies =653 \\$apsychoanalysis =653 \\$aLGBTQ Studies =700 1\$aGiffney, Noreen,$eeditor.$uUniversity of Ulster. =700 1\$aWatson, Eve,$eeditor.$uIndependent Colleges Dublin.$0(orcid)0000000328716433$1https://orcid.org/0000-0003-2871-6433 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0167.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0167.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03389nam 22005052 4500 =001 501a8862-dc30-4d1e-ab47-deb9f5579678 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021942772 =020 \\$z9781953035769$q(Paperback) =020 \\$a9781953035776$q(PDF) =024 7\$a10.53288/0324.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aAJ$2bicssc =072 7$aPHO005000$2bisacsh =072 7$aBIO026000$2bisacsh =072 7$aDNC$2thema =072 7$aAJ$2thema =100 1\$aRich, Sara A.,$eauthor.$uCoastal Carolina University.$0(orcid)0000000191768514$1https://orcid.org/0000-0001-9176-8514 =245 10$aCloser to Dust /$cSara A. Rich. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (108 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNo one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they?Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate.Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aautobiography =653 \\$acreative nonfiction =653 \\$adivorce =653 \\$aimmigration =653 \\$ainternational relationships =653 \\$amarriage =653 \\$aphotography =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0324.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0324.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03706nam 22003972 4500 =001 a022743e-8b77-4246-a068-e08d57815e27 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615988047$q(Paperback) =024 7\$a10.21983/P3.0150.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBJ$2bicssc =072 7$aPSY026000$2bisacsh =100 1\$aŽivančević, Nina,$eauthor.$uParis 8 University. =245 10$aCMOK to YOu To :$bA Correspondence /$cNina Živančević, Marc James Léger. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (516 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Živančević and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Živančević to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde – And What It Means Today. Taken with each other’s idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book – Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I’m Taken: The E-Pistolary Poetry of Kit le Minx and Cad – but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors’ quest for “harmony” in an altogether imperfect world and literary medium.In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers’ superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist’s exploration of anti-art and a poet’s claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan’s theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another’s basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acorrespondence =653 \\$apsychoanalysis =653 \\$aJacques Lacan =700 1\$aLéger, Marc James,$eauthor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0150.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0150.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03806nam 22004932 4500 =001 f94ded4d-1c87-4503-82f1-a1ca4346e756 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021934829 =020 \\$z9781953035592$q(Paperback) =020 \\$a9781953035448$q(PDF) =024 7\$a10.21983/P3.0342.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSK$2bicssc =072 7$aJFSK$2bicssc =072 7$aLIT004290$2bisacsh =072 7$aDSK$2thema =072 7$aJBSJ$2thema =100 1\$aKosofsky Sedgwick, Eve,$eauthor.$uDuke University. =245 10$aCome As You Are, After Eve Kosofsky Sedgwick /$cEve Kosofsky Sedgwick, Jonathan Goldberg. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (134 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it.“Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adifference =653 \\$aontology =653 \\$aidentification =653 \\$aqueer studies =653 \\$aliterary studies =653 \\$aqueer temporality =700 1\$aGoldberg, Jonathan,$eauthor.$uEmory University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0342.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0342.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03283nam 22004092 4500 =001 0ff62120-4478-46dc-8d01-1d7e1dc5b7a6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615849782$q(Paperback) =024 7\$a10.21983/P3.0040.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPW$2bicssc =072 7$aPOL042010$2bisacsh =100 1\$aShantz, Jeff,$eauthor.$uKwantlen Polytechnic University. =245 10$aCommonist Tendencies :$bMutual Aid beyond Communism /$cJeff Shantz. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (108 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAs capitalist societies in the twenty-first century move from crisis to crisis, oppositional movements in the global North have been somewhat stymied (despite ephemeral manifestations like Occupy), confronted with the pressing need to develop organizational infrastructures that might prepare the ground for a real, and durable, alternative. More and more, the need to develop shared infrastructural resources — what Shantz terms “infrastructures of resistance” — becomes apparent. Ecological disaster (through crises of capital), economic crisis, political austerity, and mass produced fear and phobia all require organizational preparation — the common building of real world alternatives.There is, as necessary as ever, a need to think through what we, as non-elites, exploited, and oppressed, want and how we might get it. There is an urgency to pursue constructive approaches to meet common needs. For many, the constructive vision and practice for meeting social needs (individual and collective) is expressed as commonism — an aspiration of mutual aid, sharing, and common good or common wealth collectively determined and arrived at. The term commonsim is a useful way to discuss the goals and aspirations of oppositional movements, the movement of movements, because it returns to social struggle the emphasis on commonality — a common wealth — that has been lost in the histories of previous movements that subsumed the commons within mechanisms of state control, regulation, and accounting — namely communism. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apolitical theory =653 \\$aactivism =653 \\$acommonism =653 \\$acultural studies =653 \\$aanarchism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0040.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0040.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05443nam 22005292 4500 =001 d890e88f-16d7-4b75-bef1-5e4d09c8daa0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\chi\d =010 \\$a2020940865 =020 \\$z9781950192571$q(Paperback) =020 \\$a9781950192588$q(PDF) =024 7\$a10.21983/P3.0269.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$achi$aeng =072 7$aACXJ$2bicssc =072 7$aART015110$2bisacsh =072 7$aART009000$2bisacsh =072 7$a6MC$2thema =072 7$aAGA$2thema =245 00$aComplementary Modernisms in China and the United States :$bArt as Life/Art as Idea /$cedited by Bruce Robertson, Zhang Jian. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (696 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aComplementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s.《交互视野下的中国和美国的现代艺术: 艺术/生活或观念》这一会议论文集收录了中美艺术史家对现代主义在各自传统下的发展进行研究所得的成果。这些文章并置历史发展，而非试图详述其中的关联或影响。相反，两个国家的现代主义都被展现为全球现代主义大背景中的一部分，并被认为是在特定环境中产生的。这种并置显示了重要的差异性以及任何特殊情况下的联系或相似之处，打破了一般强调法国（或欧洲）先锋派首要地位及其对周围团体产生影响的标准论述。中国与美国现代主义发展上的差异，并不仅仅是由于两国进入不同历史轨道发展现代化而导致的。相反，关注点和方法论的差异也同样重要，尤其是关注八十年代后中国艺术的发展，将其作为中国文化与经济现代化的一部分，而不是从美国视角来看待八十年代后的后现代价值。同时，也出现了重要的趋同关注点：城市中心与城市化的重要性，政治或科技解体所造成的深远影响，以及自我认同的问题。本论文集所收录的文章，彰显了当今重要的中美艺术史家研究的多样性，从资深到青年一代，从阿什坎学派至当代艺术，（并与任何当下对二十世纪作出的概括论述相一致，）将重点放在二十世纪六十年代。 =536 \\$aTerra Foundation for American Art =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amodernism =653 \\$aart history =653 \\$aChina =653 \\$aUnited States =653 \\$aart criticism =653 \\$apostmodernism =653 \\$aavantgarde =700 1\$aRobertson, Bruce,$eeditor.$uUniversity of California, Santa Barbara. =700 1\$aZhang, Jian,$eeditor.$uChina Academy of Art. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0269.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0269.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05283nam 22004692 4500 =001 a603437d-578e-4577-9800-645614b28b4b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\chi\d =010 \\$a2020940865 =020 \\$z9781953035073$q(Paperback) =040 \\$aUkCbTOM$beng$elocal =041 0\$achi$aeng =072 7$aACXJ$2bicssc =072 7$aART009000$2bisacsh =072 7$aART015110$2bisacsh =245 00$aComplementary Modernisms in China and the United States :$bArt as Life/Art as Idea [BW] /$cedited by Jian Zhang, Bruce Robertson. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (696 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aComplementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s.《交互视野下的中国和美国的现代艺术: 艺术/生活或观念》这一会议论文集收录了中美艺术史家对现代主义在各自传统下的发展进行研究所得的成果。这些文章并置历史发展，而非试图详述其中的关联或影响。相反，两个国家的现代主义都被展现为全球现代主义大背景中的一部分，并被认为是在特定环境中产生的。这种并置显示了重要的差异性以及任何特殊情况下的联系或相似之处，打破了一般强调法国（或欧洲）先锋派首要地位及其对周围团体产生影响的标准论述。中国与美国现代主义发展上的差异，并不仅仅是由于两国进入不同历史轨道发展现代化而导致的。相反，关注点和方法论的差异也同样重要，尤其是关注八十年代后中国艺术的发展，将其作为中国文化与经济现代化的一部分，而不是从美国视角来看待八十年代后的后现代价值。同时，也出现了重要的趋同关注点：城市中心与城市化的重要性，政治或科技解体所造成的深远影响，以及自我认同的问题。本论文集所收录的文章，彰显了当今重要的中美艺术史家研究的多样性，从资深到青年一代，从阿什坎学派至当代艺术，（并与任何当下对二十世纪作出的概括论述相一致，）将重点放在二十世纪六十年代。 =536 \\$aTerra Foundation for American Art =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amodernism =653 \\$aart history =653 \\$aChina =653 \\$aUnited States =653 \\$aart criticism =653 \\$apostmodernism =653 \\$aavantgarde =700 1\$aZhang, Jian,$eeditor.$uChina Academy of Art. =700 1\$aRobertson, Bruce,$eeditor.$uUniversity of California, Santa Barbara. =710 2\$apunctum books,$epublisher. =856 42$uhttps://punctumbooks.com/punctum/wp-content/uploads/2019/06/190621complementarymodernisms-cover-web-front.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03483nam 22004812 4500 =001 b5c810e1-c847-4553-a24e-9893164d9786 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021942134 =020 \\$z9781953035707$q(Paperback) =020 \\$a9781953035714$q(PDF) =024 7\$a10.53288/0370.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$afre$hita =072 7$aDCF$2bicssc =072 7$aPOE019000$2bisacsh =072 7$aDCF$2thema =100 1\$aDe Francesco, Alessandro,$eauthor.$uBern University of Applied Sciences.$0(orcid)0000000316223682$1https://orcid.org/0000-0003-1622-3682 =245 10$a((( /$cAlessandro De Francesco. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (326 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a((( is conceived of not only as a poetry collection and an artist book, but also as a series of actions, a sculpture, an installation, a living object, and a verbal ecosystem. The poetic voyage of (((, recounted in a concrete yet mysterious, abstract yet bodily language, is proposed here in a trilingual English–Italian–French edition. In the spirit of Uitgeverij’s editorial approach, this will allow readers from different parts of the world to discover in their own ways how ((( explores some of the author’s recurring themes through highly innovative poetic and narrative processes: the effects of war on children; technology and surveillance systems; immaterial and unknown phenomena; human emotions and non-human manifestations of nature via undefined objects and bodies, animals, and cosmological landscapes.The three parentheses of the title hint at multiple layers that are opened and never closed: ((( seeks to push language out of its verbal and human boundaries, towards unobservable territories. The genre of this book, although stemming from poetry in the sense of Dichtung, that is, concentration of meaning in highly dense verbal structures, is eminently queer, as it escapes identities and definitions. Through its multidimensional, intense, and surprising writing architecture, ((( explores new conceptual and emotional possibilities in the 21st century, confirming poetry and post-genre writing as powerful forms of inquiry in the contemporary era. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$apost-genre writing =653 \\$aconceptual art =653 \\$aenvironments =653 \\$amultilingualism =700 1\$aUeda, Gen,$etranslator. =700 1\$aBurckhardt, Andreas,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0370.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0370.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02806nam 22005412 4500 =001 4071e86c-433e-4a46-a84a-47f69ac945ac =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024946544 =020 \\$z9781685712228$q(Paperback) =020 \\$a9781685712235$q(PDF) =024 7\$a10.53288/0549.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aPOE005010$2bisacsh =072 7$aPOE009000$2bisacsh =072 7$aDCF$2thema =072 7$aDCC$2thema =072 7$a6NE$2thema =072 7$a5PB-US-D$2thema =072 7$aJBCC7$2thema =072 7$a1FPC$2thema =100 1\$aYu, Timothy,$eauthor.$uUniversity of Wisconsin-Madison. =245 10$a100 Chinese Silences /$cTimothy Yu. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (152 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThere are one hundred kinds of Chinese silence: the silence of unknown grandfathers; the silence of borrowed Buddha and rebranded Confucius; the silence of alluring stereotypes and exotic reticence. These poems make those silences heard. Writing back to an “orientalist” tradition that has defined modern American poetry, these 100 Chinese silences unmask the imagined Asias of American literature, revealing the spectral Asian presence that haunts our most eloquent lyrics and self-satisfied wisdom. Rewriting poets from Ezra Pound and Marianne Moore to Gary Snyder and Billy Collins, this book is a sharply critical and wickedly humorous travesty of the modern canon, excavating the Asian (American) bones buried in our poetic language. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aAsian American culture =653 \\$aracial stereotypes =653 \\$aorientalism =653 \\$acultural appropriation =653 \\$aChina =653 \\$aAmerican literature =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0549.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0549.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03739nam 22005172 4500 =001 e0f748b2-984f-45cc-8b9e-13989c31dda4 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021931014 =020 \\$z9781953035349$q(Paperback) =020 \\$a9781953035356$q(PDF) =024 7\$a10.21983/P3.0314.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aGBCR$2bicssc =072 7$a1QRM$2bicssc =072 7$aREF004000$2bisacsh =072 7$aGBCR$2thema =072 7$a1QRM$2thema =100 1\$aAlcalay, Ammiel,$eauthor.$uQueens College, CUNY. =245 12$aA Bibliography for After Jews and Arabs /$cAmmiel Alcalay. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (120 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAmmiel Alcalay’s groundbreaking work, After Jews and Arabs, published in 1993, redrew the geographic, political, cultural, and emotional map of relations between Jews and Arabs in the Levantine/Mediterranean world over a thousand-year period. Based on over a decade of research and fieldwork in many disciplines—including history and historiography; anthropology, ethnography, and ethnomusicology; political economy and geography; linguistics; philosophy; and the history of science and technology—the book presented a radically different perspective than that presented by received opinion.Given the radical and iconoclastic nature of Alcalay’s perspective, After Jews and Arabs met great resistance in attempts to publish it. Though completed and already circulating in 1989, it didn’t appear until 1993. In addition, when the book was published, there wasn’t enough space to include its original bibliography, a foundational part of the project.A Bibliography for After Jews and Arabs presents the original bibliography, as completed in 1992, without changes, as a glimpse into the historical record of a unique scholarly, political, poetic, and cultural journey. The bibliography itself had roots in research begun in the late 1970s and demonstrates a very wide arc.In addition to the bibliography, we include two accompanying texts here. In “Behind the Scenes: Before After Jews and Arabs,” Alcalay takes us behind the closed doors of the academic process, reprinting the original readers reports and his detailed rebuttals, and in “On a Bibliography for After Jews and Arabs,” Alcalay contextualizes his own path to the work he undertook, in methodological, historical, and political terms. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$abibliography =653 \\$aJews and Arabs =653 \\$aacademic publishing =653 \\$aMiddle East =653 \\$aLevantine/Mediterranean =653 \\$aPalestine/Israel =653 \\$apoetics =653 \\$aCharles Olson =653 \\$aEdward Dorn =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0314.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0314.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03508nam 22005292 4500 =001 ca2f9ad1-a5fd-45b6-a662-4991cf1767a3 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023935103 =020 \\$z9781685710729$q(Paperback) =020 \\$a9781685710736$q(PDF) =024 7\$a10.53288/0409.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSK$2bicssc =072 7$a2ABM$2bicssc =072 7$aLIT004020$2bisacsh =072 7$aLAN002000$2bisacsh =072 7$aDSK$2thema =072 7$aDSBJ$2thema =072 7$a2ACBK$2thema =072 7$a3MPQ$2thema =100 1\$aCheney, Matthew,$eauthor.$uPlymouth State University.$0(orcid)0000000222604783$1https://orcid.org/0000-0002-2260-4783 =245 10$aAbout That Life :$bBarry Lopez and the Art of Community /$cMatthew Cheney. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (150 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhy write? Why ask a reader to give their time and attention to your words? How can writing be more than narcissism and self-aggrandizement?These questions were ones that the writer and naturalist Barry Lopez asked at the Bread Loaf Writers’ Conference in the summer of 2000, and they are questions at the heart of About That Life, a meditation on matters of living, making, and seeking.While Lopez is best known for such works of nonfiction as the National Book Award-winning Arctic Dreams, Matthew Cheney brings our attention to the many works of short fiction that Lopez published throughout his life, demonstrating how they fit within Lopez’s sense of ethical aesthetics. That sense is then set alongside the work of San Francisco’s New Narrative writers, insights from David Hinton’s translations of Tu Fu, the story of community arising around a pottery kiln in western Oregon, the beauties and contradictions of Sōetsu Yanagi’s The Unknown Craftsman, and the implications of the right-wing mob attack on the U.S. Capitol – an event that occurred on what would have been Barry Lopez’s 76th birthday.Through a collage of memoir, history, literary criticism, philosophy, aesthetic theory, and creative writing exercises, About That Life wonders how we might live and dream in a world that seems ever more cruel and destructive. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acommunity action =653 \\$aenvironmental literature =653 \\$aJapanese aesthetics =653 \\$anarration (rhetoric) =653 \\$apolitical extremism =653 \\$aliterary criticism =653 \\$awriting exercises =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0409.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0409.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02964nam 22004692 4500 =001 5402ea62-7a1b-48b4-b5fb-7b114c04bc27 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692296936$q(Paperback) =024 7\$a10.21983/P3.0080.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE019000$2bisacsh =072 7$aPOE021000$2bisacsh =072 7$aDCF$2thema =072 7$a5PSG$2thema =072 7$a2ADT$2thema =100 1\$aPenna, Sandro,$eauthor. =245 12$aA Boy Asleep under the Sun :$bVersions of Sandro Penna /$cSandro Penna; edited by Peter Valente; translated by Peter Valente. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (192 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPeter Valente’s first encounter with Sandro Penna’s poetry was while translating Pier Paolo Pasolini. At the time, Valente was reading a biography on Pasolini and learned of his close friendship with Penna. Pasolini insisted that among serious readers of poetry, Penna could not be ignored. Born in Perugia on June 12, 1906, Sandro Penna lived most of his life in Rome (he died there on January 21, 1977), except for a brief period in Milan where he worked as a library clerk. When Pasolini arrived in Rome in 1950 he sought out Penna to “show him around.” He knew that Penna was in love with the same ragazzi who prowled the outskirts of Rome.In his poetry Penna clearly says who he is and how he feels. That is a rare enough quality these days. He moves away from the trappings of identity toward an honest expression of love. In Penna’s work the beautiful is not conscious of itself and is therefore erotic: “Is not the beauty of those who are unaware of their beauty / more beautiful than those who are aware?” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$agay poetry =653 \\$ahomosexuality =653 \\$alove =653 \\$aSandro Penna =653 \\$aItalian poetry =700 1\$aValente, Peter,$eeditor, translator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0080.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0080.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04234nam 22004092 4500 =001 f02786d4-3bcc-473e-8d43-3da66c7e877c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237596$q(Paperback) =024 7\$a10.21983/P3.0159.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSR1$2bicssc =072 7$aPOL072000$2bisacsh =100 1\$aTucker, Irene,$eauthor.$uUniversity of California, Irvine. =245 12$aA Brief Genealogy of Jewish Republicanism :$bParting Ways with Judith Butler /$cIrene Tucker. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (90 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA Brief Genealogy of Jewish Republicanism: Parting Ways with Judith Butler uses the chance synchronicity of the 2013 Israeli parliamentary elections and literary theorist Judith Butler’s controversial Brooklyn College address calling for the boycotting of Israeli academic, cultural, and economic institutions as an occasion for examining possible relations between Jewishness and state-centered forms of self-governance. In an extended analysis of Butler’s Parting Ways: Jewishness and the Critique of Zionism, Tucker shows how the alignment of certain authors’ identities and ideas undergirding Butler’s analytical framework draws upon a pointedly Christian conception of belief. This Christian conception of belief structures the most familiar understandings of modern secularism, articulated most famously by John Locke in his “Letter Concerning Toleration.” Tucker reads Locke’s “Letter”’ alongside Jewish philosopher/rabbi Moses Mendelssohn’s 1783 critique of Locke, Jerusalem: Or On Religious Power and Judaism, and the Jewish tradition of the minyan, making a case for the existence of an alternative history of publicness borrowing from Jewish conceptions of communal life and the proper relations of actions and ideas.In throwing light on a genealogy of Jewish practices aimed at the deliberate creation of collectives constituted by their grappling with contingent, historical time, Tucker argues for the existence of a Jewish tradition of republicanism, of democracy. Within such a context, the Jewishness of Israel can be seen to lie first and foremost in its methods of generating a civil collective out of a diverse citizenry rather than in the identities of its individual citizens. The tradition Tucker has in mind explicitly uses an idea of ritual or “ceremonial law” to sustain within itself a tension between a heterogeneity of perspectives and interests constitutive of democratic process and the forms of unity and agreement often understood to be the desired outcome of that process. By setting forth a framework in which heterogeneity and agreement are conceived as coincident modes of political being rather than steps in a linear process, this “Jewish republicanism” frames law-making, implementation and following as forms of a single structure of ritual practice. Such a framework might provide the inspiration and authority for reconceiving some of the fundamental relations of the Zionist project =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aIsrael =653 \\$aJewish Studies =653 \\$aJudith Butler =653 \\$aZionism =653 \\$aRepublicanism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0159.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0159.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03036nam 22004812 4500 =001 010b08ba-0eed-4d21-8104-0a7913e10909 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022953564 =020 \\$z9781685710446$q(Paperback) =020 \\$a9781685710453$q(PDF) =024 7\$a10.53288/0389.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hjpn =072 7$aHREZ$2bicssc =072 7$a2GJ$2bicssc =072 7$aREL092000$2bisacsh =072 7$aPHI025000$2bisacsh =072 7$aQRFB23$2thema =072 7$a3KLN-JP-K$2thema =100 1\$aSmith, Kidder,$eauthor.$uBowdoin College. =245 10$aAbruptly Dogen /$cKidder Smith. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (198 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the thirteenth century Dogen brought Zen to Japan. His tradition flourishes there still today and now has taken root across the world. Abruptly Dogen presents some of his pithy writings — startling, shifting, funny, spilling out in every direction. These writings come from all seventy-five chapters of his masterwork, the Eye of Real Dharma (Shōbōgenzō 正法眼藏), and the poems roam through mountains, magic, everyday life, meditation, the nature of mind, and how the Buddha is always speaking from inside our heads. An excerpt from Chapter 1, “A Case of Here We Are,” is illustrative: Human wisdom is like a moon roosting in water. No stain on the moon, nor does the water rip. However wide and grand the light, it still finds lodging in a puddle. The full moon, the spilling sky, all roosting in a single dewdrop on a single blade of grass. A man of wisdom is uncut, the way a moon doesn’t pierce water. Wisdom in a man is unobstructed, the way the sky’s full moon is unobstructed in a dewdrop. No doubt about it, the drop’s as deep as the moon is high. How long does this go on? How deep is the water, how high the moon? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aZen Buddhism =653 \\$aDogen =653 \\$aJapanese literature =653 \\$aenlightenment =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0389.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0389.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03967nam 22005172 4500 =001 8a27431b-b1f9-4fed-a8e0-0a0aadc9d98c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022936379 =020 \\$z9781685710347$q(Paperback) =020 \\$a9781685710354$q(PDF) =024 7\$a10.53288/0373.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHRE$2bicssc =072 7$aHPQ$2bicssc =072 7$aREL007000$2bisacsh =072 7$aPHI028000$2bisacsh =072 7$aQRFB2$2thema =072 7$aQDTQ$2thema =100 1\$aBrons, Lajos,$eauthor.$uLakeland University Japan.$0(orcid)0000000208905678$1https://orcid.org/0000-0002-0890-5678 =245 12$aA Buddha Land in This World :$bPhilosophy, Utopia, and Radical Buddhism /$cLajos Brons. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (490 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the early twentieth century, Uchiyama Gudō, Seno’o Girō, Lin Qiuwu, and others advocated a Buddhism that was radical in two respects. Firstly, they adopted a more or less naturalist stance with respect to Buddhist doctrine and related matters, rejecting karma or other supernatural beliefs. And secondly, they held political and economic views that were radically anti-hegemonic, anti-capitalist, and revolutionary. Taking the idea of such a “radical Buddhism” seriously, A Buddha Land in This World: Philosophy, Utopia, and Radical Buddhism asks whether it is possible to develop a philosophy that is simultaneously naturalist, anti-capitalist, Buddhist, and consistent. Rather than a study of radical Buddhism, then, this book is an attempt to radicalize it.The foundations of this “radicalized radical Buddhism” are provided by a realist interpretation of Yogācāra, elucidated and elaborated with some help from thinkers in the broader Tiantai/Tendai tradition and American philosophers Donald Davidson and W.V.O. Quine. A key implication of this foundation is that only this world and only this life are real, from which it follows that if Buddhism aims to alleviate suffering, it has to do so in this world and in this life. Twentieth-century radical Buddhists (as well as some engaged Buddhists) came to a similar conclusion, often expressed in their aim to realize “a Buddha land in this world.”Building on this foundation, but also on Mahāyāna moral philosophy, this book argues for an ethics and social philosophy based on a definition of evil as that what is or should be expected to cause death or suffering. On that ground, capitalism should be rejected indeed, but utopianism must be treated with caution as well, which raises questions about what it means – from a radicalized radical Buddhist perspective – to aim for a Buddha land in this world. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$aBuddhism =653 \\$anaturalism =653 \\$aanti-capitalism =653 \\$aethics =653 \\$autopianism =653 \\$aYogācāra =653 \\$apragmatism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0373.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0373.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03884nam 22005172 4500 =001 88a8657d-d73d-4be1-b893-678b35fd709a =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022945025 =020 \\$z9781685710569$q(Paperback) =020 \\$a9781685710576$q(PDF) =024 7\$a10.53288/0391.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aAPFB$2bicssc =072 7$aART057000$2bisacsh =072 7$aART009000$2bisacsh =072 7$aART066000$2bisacsh =072 7$aATFA$2thema =072 7$aATFB$2thema =100 1\$aValente, Peter,$eauthor. =245 12$aA Credible Utopia :$bEssays on Selected Films of Werner Schroeter /$cPeter Valente. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (172 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA Credible Utopia: Essays on Selected Films of Werner Schroeter offers unique and personal insights into Schroeter’s cinematic universe. Many of the films discussed in this book are those upon which Schroeter’s worldwide reputation rests: Der Bomberpilot, an absurdist comedy; The Death of Maria Malibran, a film about ecstatic redemption in death; Willow Springs, about the complex relationships between men and women; Day of the Idiots, a visually baroque, operatic and highly dramatic film about madness; The Kingdom of Naples, Schroeter’s visually stunning depiction of Italy in the post-war years; and Palermo or Wolfsburg, for which Schroeter won the Golden Bear, an epic film about love, violence, and cultural malaise. But Valente also addresses Schroeter's early experimental films that don't get as much attention, such as Aggression, Neurasia, and Argila, all of which are about the struggle between repression and desire, and Deux, a late work that Schroeter considered his masterpiece, a film about the double and the ways in which identity is formed by integrating the abject part of ourselves with the good. Valente concludes with an analysis of Nuit de Chien, Schroeter's final film, a powerful summation of a live devoted to art, music, literature, and film.When the Museum of Modern Art staged a retrospective of Schroeter's ouevre in 2012, there was hardly anything in English on his films and only one film available on DVD in the US, such that Schroeter's work as a director has remained largely invisible in the English-speaking world. A Credible Utopia repairs this lacuna in film history, and, in a detailed and intimate reading of Schroeter's queer ouevre, links all these films together through Schroeter's desire for a “credible utopia,” despite our shared awareness of disaster, torture, viciousness, and political corruption in the world. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$autopia =653 \\$ahomosexuality =653 \\$aWerner Schroeter =653 \\$afilm studies =653 \\$aqueer studies =653 \\$aGerman cinema =653 \\$aesthetics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0391.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0391.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02385nam 22004092 4500 =001 eeb920c0-6f2e-462c-a315-3687b5ca8da3 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692335543$q(Paperback) =024 7\$a10.21983/P3.0083.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =100 1\$aOpal, Anthony,$eauthor. =245 10$aAction [poems] /$cAnthony Opal. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (72 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aACTION — as in begin, genesis, motion — is a collection of poems ultimately concerned with form, those lines drawn in the sand that give way to the profanity of the holy, the holiness of the profane. Throughout ACTION, Opal engages the constraints inherent to seemingly fixed forms. From living with rheumatoid arthritis, to feeling for the edges of a sonnet tradition, to wrestling with the tenets of historical theology, this collection demonstrates that the only way to honestly submit to a form is to rage against it. However, to assume that this rage is not a kind of explosive joy—a Barthesian jouissance—would be to miss the point of poems that Dean Young has described as “radiant affirmations of life and art.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$asonnet =653 \\$aformalism =653 \\$awaxwings =653 \\$amonarchy =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0083.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0083.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03517nam 22004572 4500 =001 20dab41d-2267-4a68-befa-d787b7c98599 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237534$q(Paperback) =024 7\$a10.21983/P3.0152.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afre =072 7$aJFFK$2bicssc =072 7$aSOC010000$2bisacsh =072 7$aPHI013000$2bisacsh =245 00$aAfter the "Speculative Turn" :$bRealism, Philosophy, and Feminism /$cedited by Katerina Kolozova, Eileen A. Joy. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (200 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aRecent forms of realism in continental philosophy that are habitually subsumed under the category of “speculative realism,” a denomination referring to rather heterogeneous strands of philosophy, bringing together object-oriented ontology (OOO), non-standard philosophy (or non-philosophy), the speculative realist ideas of Quentin Meillassoux and Marxism, have provided grounds for the much needed critique of culturalism in gender theory, and the authority with which post-structuralism has dominated feminist theory for decades. This publication aims to bring forth some of the feminist debates prompted by the so-called “speculative turn,” while demonstrating that there has never been a niche of “speculative realist feminism.”Whereas most of the contributions featured in this collection provide a theoretical approach invoking the necessity of foregrounding new forms of realism for a “feminism beyond gender as culture,” some of the essays tackle OOO only to invite a feminist critical challenge to its paradigm, while others refer to some extent to non-philosophy or the new materialisms but are not reducible to either of the two. We have invited essays from intellectual milieus outside the Anglo-Saxon academic center, bringing together authors from Serbia, Slovenia, France, Ireland, the UK, and Canada, aiming to promote feminist internationalism (rather than a “generous act of cultural inclusion”). =536 \\$aUniversity of Oxford =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aspeculative realism =653 \\$aobject studies =653 \\$afeminism =653 \\$anew realisms =653 \\$anew materialisms =700 1\$aKolozova, Katerina,$eeditor.$uInstitute of Social Sciences and Humanities, Skopje. =700 1\$aJoy, Eileen A.,$eeditor.$uSouthern Illinois University Edwardsville.$0(orcid)0000000253093189$1https://orcid.org/0000-0002-5309-3189 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0152.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0152.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02925nam 22003612 4500 =001 13a03c11-0f22-4d40-881d-b935452d4bf3 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =020 \\$a9781947447585$q(PDF) =024 7\$a10.21983/P3.0201.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aART016010$2bisacsh =100 1\$aCross, David,$eauthor.$uDeakin University. =245 10$aAir Supplied /$cDavid Cross. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (155 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAir Supplied doubles as an artbook and edited collection of critical essays on the work of Australian-based artist David Cross. Known for his practice with inflatable structures, his projects often draw audiences into unexpected situations and dialogues. Working across performance/participatory art and object-based environments, Cross has developed a unique body of work that focuses on relationships between pleasure, the grotesque, and phobia. His curious architectural structures, which often resemble children’s funhouses, draw participants into physically and psychologically complex scenarios. While often large in scale, these structures at the same time create a framework around which ideas of intimacy and haptic experience can be negotiated and challenged. Since 2011 Cross has begun to work increasingly in the public sphere, developing works that navigate the relationship between sport, collective decision making, and sensory deprivation. Capturing work since 2005 that was produced in Europe, Eastern Europe, North America, and Australasia, Air Supplied features a survey essay by New Zealand-based Martin Patrick, an interview with the artist, and eleven commissioned essays on each of the artworks. The publication also includes a separate booklet of field notes by the artist, capturing reflections on each of the works. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aartist book =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0201.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0201.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03530nam 22005292 4500 =001 c9957c97-8a34-4394-bb0b-aee6b4f42279 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023936659 =020 \\$z9781685711047$q(Paperback) =020 \\$a9781685711054$q(PDF) =024 7\$a10.53288/0444.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hfre =072 7$aAGB$2bicssc =072 7$aGTE$2bicssc =072 7$aART009000$2bisacsh =072 7$aLIT006000$2bisacsh =072 7$aAGB$2thema =072 7$aGTD$2thema =100 1\$aBarthes, Roland,$eauthor. =245 10$aall except you /$cRoland Barthes; translated by Joe Milutis. =264 \1$aEarth: Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (116 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aRoland Barthes's consideration of the drawings of New York artist Saul Steinberg — originally an artist book posthumously published in France in 1983 — is historically important as one of the last remaining books in Barthes's oeuvre to be translated into English.all except you continues Barthes's inquiries into image–text relations, specifically the indiscernible horizon where writing meets drawing, one becoming the other. In his attempt to blur these registers, he produces less a critique than a translation, an attempt to merge author and artist, to see himself and his desire in the work of Steinberg, using the resources of structural linguistics and psychoanalysis. The impertinence of his critique mimics the deformations of Steinberg's drawings that are "sassy, deformed by the look on high, stretched, excessively crunched." We become suspicious that Barthes is writing more into Steinberg than Steinberg holds, or even that Steinberg is an alibi for some other aim that is withheld.Joe Milutis's translation takes the opportunity of a running commentary, in the form of translator's notes, to amplify Barthes's impertinent reading and authorial one-upmanship by speculating on the presumed failures and detoured transferences of the text. Since Barthes is less concerned with writing about art than writing through it, Milutis's "double session" perhaps provides the most faithful translation of the Barthesian eros in his write-through of the write-through. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aart criticism =653 \\$aliterary theory =653 \\$aSaul Steinberg =653 \\$asemiotics =653 \\$apoetics =653 \\$aimage-text =653 \\$apoststructuralism =700 1\$aMilutis, Joe,$etranslator.$uUniversity of Washington Bothell. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0444.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0444.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03866nam 22005052 4500 =001 33d0a518-f82b-46e0-939b-bb4c7b9fb62f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024935765 =020 \\$z9781685711603$q(Paperback) =020 \\$a9781685711610$q(PDF) =024 7\$a10.53288/0475.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aAPFA$2bicssc =072 7$aBIO026000$2bisacsh =072 7$aART057000$2bisacsh =072 7$aDNC$2thema =072 7$aATFA$2thema =100 1\$aDibbern, Doug,$eauthor.$uNew York University.$0(orcid)000000020459450X$1https://orcid.org/0000-0002-0459-450X =245 10$aAlone in the Dark :$bCinephilia and the Heroic Imagination /$cDoug Dibbern. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (156 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAlone in the Dark is an experimental memoir – or perhaps, more accurately, an anti-memoir or fabulist memoir, some unruly combination of essay, prose poem, and floating reverie that examines the relationship between one’s cultural heritage and one’s aesthetic devotions. Unlike a traditional autobiography that details the chronological events of a person’s life, the book begins with the obsessive moviegoing of Dibbern’s early years in New York and then unfurls as a fevered rumination on the role that an excessive love of art plays in shaping ideas about one’s identity.The book opens with the American premiere of the Hungarian filmmaker Béla Tarr’s harrowing, eight-hour-long magnum opus Sátántangó in 1998 as an emblematic cinephile experience. Dibbern then frames the book by asking, why would anyone devote the bulk of their waking hours to such a compulsive pursuit of a seemingly passive experience of art? Sitting alone in a darkened movie theater, he suggests, is not a passive, but a creative act: developing an aesthetic taste, after all, is central to defining our identities. And taste is the product of two contradictory impulses: the will to simultaneously embrace and escape the values of our cultural backgrounds that made us who we are.With these conjectures as the jumping-off point, the book commences its discursive explorations, wending and weaving between topics as diverse as Carl Jung’s theories of the collective unconscious, Carl Theodor Dreyer’s Ordet, old family photo albums, nineteenth-century immigration to North Dakota, the actress Gena Rowlands’s histrionic mental breakdowns, the self-portraits that the Mandan chief Mato-Tope made in the 1830s, and the dizzyingly joyful suicidal games in Howard Hawks’s film about aviation, Only Angels Have Wings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acinema =653 \\$amemoir =653 \\$aexperimental criticism =653 \\$acinephilia =653 \\$acinematography =653 \\$aBéla Tarr =653 \\$aCarl Theodor Dreyer =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0475.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0475.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04469nam 22005172 4500 =001 5147a952-3d44-4beb-8d49-b41c91bce733 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021937406 =020 \\$z9781953035578$q(Paperback) =020 \\$a9781953035585$q(PDF) =024 7\$a10.53288/0274.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aUBW$2bicssc =072 7$aJFC$2bicssc =072 7$aCOM079000$2bisacsh =072 7$aTEC052000$2bisacsh =072 7$aGTB$2thema =072 7$aJBCC$2thema =245 00$aAlternative Historiographies of the Digital Humanities /$cedited by Dorothy Kim, Adeline Koh. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (512 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative.A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis. - =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acultural studies =653 \\$adigital humanities =653 \\$afeminism =653 \\$aindigenous studies =653 \\$apostcolonialism =653 \\$aqueer gaming =653 \\$aradical media =700 1\$aKim, Dorothy,$eeditor.$uBrandeis University. =700 1\$aKoh, Adeline,$eeditor.$uStockton University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0274.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0274.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04145nam 22004932 4500 =001 aa2b4fca-a055-4ce9-ac77-1c8ff8b320b9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\por\d =010 \\$a2019955144 =020 \\$z9781950192595$q(Paperback) =020 \\$a9781950192601$q(PDF) =024 7\$a10.21983/P3.0270.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$apor$heng =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =100 1\$aManning, Erin,$eauthor.$uConcordia University. =245 10$aA Manga Perfeita /$cErin Manning; translated by Ernesto Filho, Christine Greiner. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (166 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEm 1994, aos vinte e cinco anos de idade, quando o terrível “despedaçamento que vem com a agressão sexual” dobrou-se profundamente em seu corpo e pensamentos de suicídio estavam sempre por perto, Erin Manning escreveu A Manga Perfeita num estado quase febril: dezenove capítulos em dezenove dias, uma espécie de operação de auto-resgate, onde a escrita tornou-se uma maneira de fazer (e sentir) a vida de outra forma. Ao longo desses dezenove dias, e embora não capaz de articular completamente para si mesma na época, Manning escreveu-se para dentro “de uma composição que pergunta de que outra forma a vida poderia ser vivida”. E nos ritmos dessa composição, que era também uma vida, Manning foi e é capaz de recusar a categoria e norma e imobilidade da “vítima” (enquanto ainda compreende as heranças da violência) a fim de seguir em vez disso o mais-que-eu assim como a alegria do “mais-que da experiência no fazer”.Vinte e cinco anos depois, Manning permite que esses escritos anteriores encontrem seu caminho de volta ao mundo, o que é uma maneira de dar “voz a esses momentos de sobrevivência confusos” enquanto também pede a nós, que compartilhamos (e ajudamos a suportar) tais momentos enquanto leitores, que consideremos “outras formas de escutar a urgência que é viver”. Republicar o livro agora é dar-lhe um lugar no mundo de uma maneira que honre sua força como algo que está sempre além da reivindicação de qualquer um, mesmo de Manning. Nesse sentido, A Manga Perfeita nos convida, com Manning, a estar em excesso de nós mesmos, e também a considerarmos, nas palavras de Manning, “como criar condições para viver além da crença feroz do humanismo de que nós, os privilegiados, os neurotípicos, os ainda incólumes, os corpos-capazes, é que guardamos a chave para todas as perspectivas no teatro da vida”. Por fim, A Manga Perfeita e as reflexões de Manning a respeito de sua composição pedem que consideremos “viver na feroz celebração de um mundo inventado por esses modos de vida que rasgam o tecido colonial, branco, neurotípico da vida como a conhecemos.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemoir =653 \\$asexual abuse =653 \\$atrauma =653 \\$aviolence =653 \\$aembodiment =653 \\$acreative non-fiction =653 \\$aneurodiversity =700 1\$aFilho, Ernesto,$etranslator. =700 1\$aGreiner, Christine,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0270.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0270.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04032nam 22005292 4500 =001 b884f6e4-6bb0-433e-8f70-b95795596bd8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023949498 =020 \\$z9781685711221$q(Paperback) =020 \\$a9781685711238$q(PDF) =024 7\$a10.53288/0386.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aAMB$2bicssc =072 7$aAMVD$2bicssc =072 7$aARC001000$2bisacsh =072 7$aARC010000$2bisacsh =072 7$aAMA$2thema =072 7$aAMB$2thema =072 7$aAMVD$2thema =100 1\$aMcEwan, Cameron,$eauthor.$uNorthumbria University.$0(orcid)0000000206831708$1https://orcid.org/0000-0002-0683-1708 =245 10$aAnalogical City /$cCameron McEwan. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (278 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Analogical City, Cameron McEwan argues for architecture’s status as a critical project. McEwan revisits architect Aldo Rossi as a paradigmatic figure of the critical rational tradition, studying a neglected aspect of his thought — the analogical city — to excavate its potential. McEwan develops a grammar of the analogical city under the headings of Imagination, Transformation, City, Multitude, and Project. McEwan argues that the analogical city is critical, collective, and emancipatory. Analogical thought and understanding cities as analogical might open the conditions of possibility for rethinking the critical project in architecture.At a time when the humanities and the sciences are threatened by irrational thought, from climate denial to post-truth narratives, and when architecture has seemingly disavowed its critical capacity and political possibility through its commodification as an instrument of the neoliberal city, McEwan offers critical strategies, conceptual tools, figures of thought, and knowledge practices to articulate modes of thinking and acting differently within architectural criticism and practice. Today, knowledge is a common terrain of struggle and thought requires constant reinvention. The task of architecture, and critique more broadly, must be to interpret the world in order to change it. Consequently Analogical City proposes modes for imagining the city, the subject, and the world otherwise — towards a more egalitarian and critical architecture of the city.Ultimately, the analogical city is not a fully developed theory, nor is it only an intuitive, poetic, or purely formal practice, as some critics propose. McEwan argues that the analogical city is poetic and political: it always refers beyond itself towards a collective and critical project of the city, and yet it invites a series of formal, spatial, and graphic operations comprising erasure and negativity followed by substitution and remontage. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAldo Rossi =653 \\$aPaolo Virno =653 \\$aarchitecture =653 \\$aarchitectural theory =653 \\$acities =653 \\$acritical project =653 \\$amultitude =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0386.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0386.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02748nam 22004092 4500 =001 df9bf011-efaf-49a7-9497-2a4d4cfde9e8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709170$q(Paperback) =024 7\$a10.21983/P3.0220.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aART003000$2bisacsh =072 7$aWFU$2thema =245 03$aAn Anthology of Asemic Handwriting /$cedited by Tim Gaze, Michael Jacobson. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (214 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAn Anthology of Asemic Handwriting is the first book-length publication to collect the work of a community of writers on the edges of illegibility. Asemic writing is a galaxy-sized style of writing, which is everywhere yet remains largely unknown. For human observers, asemic writing may appear as lightning from a storm, a crack in the sidewalk, or the tail of a comet. But despite these observations, asemic writing is not everything: it is just an essential component, a newborn supernova dropped from a calligrapher’s hand. Asemic writing is simultaneously communicating with the past and the future of writing, from the earliest undeciphered writing systems to the xenolinguistics of the stars; it follows a peregrination from the preliterate, beyond the verbal, finally ending in a postliterate condition in which visual language has superseded words. An Anthology of Asemic Handwriting is compiled and edited by Tim Gaze from Asemic magazine and Michael Jacobson from The New Post-Literate blog. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$avisual poetry =653 \\$aasemic handwriting =653 \\$acalligraphy =700 1\$aGaze, Tim,$eeditor. =700 1\$aJacobson, Michael,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0220.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0220.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03786nam 22004212 4500 =001 f712541c-07b4-477c-8b8c-8c1a307810d0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692652664$q(Paperback) =024 7\$a10.21983/P3.0144.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPN$2bicssc =072 7$aPHI001000$2bisacsh =245 00$aAnd Another Thing :$bNonanthropocentrism and Art /$cedited by Katherine Behar, Emmy Mikelson. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (86 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn And Another Thing: Nonanthropocentrism and Art, Katherine Behar and Emmy Mikelson explore how artists engage with nonanthropocentrism, one of the primary tenets shared by recent speculative realist and new materialist philosophies. Extending their investigations in And Another Thing, an exhibition which the authors curated in 2011, this volume documents both that exhibition and expands on two of its curatorial aims: prioritizing art historical contexts for contemporary philosophy (rather than the other way around), and apprehending artworks as historically specific objects of philosophy.The book is organized in three sections. In the first section, Behar and Mikelson provide long-form essays that chart the evolution of nonanthropocentrism and art, spanning eighteenth-century architectural drawing, performance, minimalist sculpture, and contemporary postminimalism. These essays raise the stakes for art and speculative realism, showing how artists have figured and prefigured nonanthropocentric ideas strikingly similar to those expounded in various “new” realist, materialist, and speculativist philosophies. Literally occupying the center of the volume, in section two, the exhibition is represented by full-color plates of eleven works by Carl Andre, Laura Carton, Valie Export, Regina José Galindo, Tom Kotik, Mary Lucking, Bruce Nauman, Grit Ruhland, Anthony Titus, Ruslan Trusewych, and Zimoun. Artworks by these emerging and canonical figures lay bare the networks of alliances underlying the exhibition. The book concludes with three short meditations on the relation between nonanthropocentrism and art, and what that relation might portend for future thought. These essays, by Bill Brown, Patricia Ticineto Clough, and Robert Jackson, are speculative in the sense that they perceive potentials for theory arising from nonanthropocentrism’s manifestations in art. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aaesthetics =653 \\$acultural theory =653 \\$athing theory =653 \\$aposthumanism =653 \\$aanthropocene =700 1\$aBehar, Katherine,$eeditor.$uBaruch College.$0(orcid)0009000376626704$1https://orcid.org/0009-0003-7662-6704 =700 1\$aMikelson, Emmy,$eeditor.$uPace University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0144.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0144.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02622nam 22004812 4500 =001 fd67d684-aaff-4260-bb94-9d0373015620 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021936609 =020 \\$z9781953035530$q(Paperback) =020 \\$a9781953035547$q(PDF) =024 7\$a10.21983/P3.0316.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSK$2bicssc =072 7$aLIT004120$2bisacsh =072 7$aDSK$2thema =072 7$a3MD$2thema =100 1\$aSobecki, Sebastian,$eauthor.$uUniversity of Groningen.$0(orcid)0000000259871260$1https://orcid.org/0000-0002-5987-1260 =245 13$aAn Edition of Miles Hogarde's "A Mirroure of Myserie" /$cSebastian Sobecki. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (68 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis is the first edition of A Mirroure of Myserie (1557), a poem by the Catholic propagandist Miles Hogarde and probably presented to Queen Mary. Cast as a dream vision, this combative dialogue draws on William Langland’s widely circulating medieval poem The Vision of Piers Plowman and offers a critical assessment of sixteenth-century morality in England.The Mirroure of Myserie has been edited from Huntington Library MS 121 and is accompanied by a short introduction. This accessible edition preserves Hogarde’s original spelling but adds modern punctuation and glosses of all unfamiliar words and concepts. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aCatholicism =653 \\$aCounter-Reformation =653 \\$adream poetry =653 \\$aMiles Hogarde =653 \\$aMary I =653 \\$aMiles Huggarde =653 \\$aEnglish poetry =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0316.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0316.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02384nam 22003972 4500 =001 8b77c06a-3c1c-48ac-a32e-466ef37f293e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709149$q(Paperback) =024 7\$a10.21983/P3.0217.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aPOE021000$2bisacsh =100 1\$aStewart, Jamie,$eauthor. =245 12$aA Neo Tropical Companion /$cJamie Stewart. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (162 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA Neo Tropical Companion is the first collection of haikus written by Xiu Xiu singer, Jamie Stewart. This is the first time his haikus, which have been featured in several literary journals and small press releases, will be comprehensively collected. Two thirds of the work will include new poems written for specifically for this book. The title, A Neo Tropical Companion, comes from an antiquated guide book to North East South America that Stewart found molding on the ground in the jungle. The poems, written in the classical Japanese poetry form, concern death, uncertainty, cats, being on weird tours, horrible sex, hating other people, bird watching in Guyana, and growing up in a dim and boxed-in valley. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aAmerican poetry =653 \\$amodern poetry =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0217.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0217.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03472nam 22004932 4500 =001 27e17948-02c4-4ba3-8244-5c229cc8e9b8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9781950192397$q(Paperback) =020 \\$a9781950192403$q(PDF) =024 7\$a10.21983/P3.0262.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a2ABA$2bicssc =072 7$aHBJD1$2bicssc =072 7$aHIS015000$2bisacsh =072 7$a2ACBA$2thema =072 7$a3KH-GB-B$2thema =072 7$aNHDJ$2thema =100 1\$aEllard, Donna-Beth,$eauthor.$uUniversity of Denver. =245 10$aAnglo-Saxon(ist) Pasts, postSaxon Futures /$cDonna-Beth Ellard. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (424 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAnglo-Saxon(ist) Pasts, postSaxon Futures traces the integral role that colonialism and racism play in the field formerly known as Anglo-Saxon studies by tracking the development of the “Anglo-Saxonist,” an overtly racialized term that describes a person whose affinities point towards white nationalism. That scholars continue to call themselves “Anglo-Saxonists,” despite urgent calls to combat racism within the field, suggests that this term is much more than just a professional appellative. It is, this book argues, a ghost in the machine of early medieval studies—a spectral figure created by a group of nineteenth-century historians, archaeologists, and philologists responsible for not only framing the interdisciplinary field of "Anglo-Saxon" studies but for also encoding ideologies of British colonialism and Anglo-American racism within the field’s methods and pedagogies.Anglo-Saxon(ist) pasts, postSaxon Futures is at once a historiography of Anglo-Saxon studies, a mourning of its Anglo-Saxonist “fathers,” and an exorcism of the colonial-racial ghosts that lurk within the field’s scholarly methods and pedagogies. Part intellectual history, part grief work, this book leverages the genres of literary criticism, auto-ethnography, and creative nonfiction in order to confront Anglo-Saxonist pasts in order to imagine speculative postSaxon futures inclusive of voices and bodies heretofore excluded from the field formerly known as Anglo-Saxon studies. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAnglo-Saxon =653 \\$aOld English =653 \\$aMedieval Studies =653 \\$aintellectual history =653 \\$aautoethnography =653 \\$aCritical Race Studies =653 \\$apsychoanalysis =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0262.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0262.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02782nam 22003972 4500 =001 5f24bd29-3d48-4a70-8491-6269f7cc6212 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615983936$q(Paperback) =024 7\$a10.21983/P3.0105.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE023060$2bisacsh =100 1\$aOwens, Richard,$eauthor. =245 10$aBallads /$cRichard Owens. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (134 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOriginally published by eth co-director David Hadbawnik’s habenicht press in 2012, Ballads uses the lyric form to explore the effects of global Capitalism from a sharp Marxist perspective. Recognizing the congruence between folk song circulation and the circulation of money, the “currency” of the ballad alongside supply-side economics, Owens hails Wordworth’s Lyric Ballads experiment (undertaken at the dawn of England’s Industrial Age) as one touchstone. But he also understands the built-in obsolescence of the form, its tendency to hearken back to imaginary origins. “[E]veryone has an idea they know what a ballad is,” Owens writes in his “Working Notes.” “It’s this degraded thing shot through with a sense of pastness, cultural infancy and a charming but sometimes dangerous rusticity that needs to be carefully framed and reined.” Thus Owens’ Ballads playfully engages with language, figures, and forms from medieval and early modern England, with nods to the caesura-based, alliterative line, and Barbara Allan, Thomas the Rhymer, and Piers Plowman making appearances in the book’s brief lyrics. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aballads =653 \\$apremodern England =653 \\$aglobal capitalism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0105.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0105.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04842nam 22005292 4500 =001 3da27fb9-7a15-446e-ae0f-258c7dd4fd94 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019934936 =020 \\$z9781950192151$q(Paperback) =020 \\$a9781950192168$q(PDF) =024 7\$a10.21983/P3.0249.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMB$2bicssc =072 7$aAMD$2bicssc =072 7$aAMG$2bicssc =072 7$aAMK$2bicssc =072 7$aARC006020$2bisacsh =072 7$aAMB$2thema =072 7$aAMD$2thema =072 7$aAMG$2thema =072 7$aAMK$2thema =245 00$aBarton Myers :$bWorks of Architecture and Urbanism /$cedited by Kris Miller-Fisher, Jocelyn Gibbs. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (126 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDrawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967–1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975–present).Myers’s strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist—a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers’ urban manifesto was codified in “Vacant Lottery,” the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal’s circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the “lottery” of private developers. Myers’s design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays – on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters – reinforce Myers’s commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the “vacant lottery” idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers’s additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers’s houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers’s theaters and performance complexes. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$aurbanism =653 \\$asocial housing =653 \\$aAmerican architects =653 \\$aadaptive reuse =700 1\$aMiller-Fisher, Kris,$eeditor. =700 1\$aGibbs, Jocelyn,$eeditor.$uUniversity of California, Santa Barbara. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0249.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0249.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02485nam 22004452 4500 =001 f4d42680-8b02-4e3a-9ec8-44aee852b29f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017957440 =020 \\$z9781947447301$q(Paperback) =020 \\$a9781947447318$q(PDF) =024 7\$a10.21983/P3.0189.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBH$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aLIT014000$2bisacsh =245 00$aBathroom Songs :$bEve Kosofsky Sedgwick as a Poet /$cedited by Jason Edwards. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (306 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBathroom Songs: Eve Kosofsky Sedgwick as a Poet is the first book of essays to consider the poetry of one of the twentieth- and early twenty-first-century’s most important literary, affect, and queer theorists. Acclaimed as one of the “truly innovative” poets of her generation by Maud Ellmann, Sedgwick’s work as a poet is, perhaps, less well known, but is no less compelling than her ground-breaking trilogy of queer theoretical texts: Between Men: English Literature and Male Homosocial Desire, Epistemology of the Closet, and Tendencies. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary studies =653 \\$aqueer studies =653 \\$aEve Kosofsky Sedgwick =653 \\$apsychoanalysis =653 \\$aautobiography =700 1\$aEdwards, Jason,$eeditor.$uUniversity of York.$0(orcid)0000000250324965$1https://orcid.org/0000-0002-5032-4965 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0189.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0189.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05100nam 22004572 4500 =001 637566b3-dca3-4a8b-b5bd-01fcbb77ca09 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\ang\d =020 \\$z9780615612652$q(Paperback) =024 7\$a10.21983/P3.0009.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aang$aeng =072 7$aDB$2bicssc =072 7$aPOE022000$2bisacsh =072 7$aDCA$2thema =072 7$a3KH-GB-B$2thema =245 00$aBeowulf :$bA Translation /$cedited by David Hadbawnik; translated by Thomas Meyer. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (312 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMany modern Beowulf translations, while excellent in their own ways, suffer from what Kathleen Biddick might call “melancholy” for an oral and aural way of poetic making. By and large, they tend to preserve certain familiar features of Anglo-Saxon verse as it has been constructed by editors, philologists, and translators: the emphasis on caesura and alliteration, with diction and syntax smoothed out for readability. The problem with, and the paradox of this desired outcome, especially as it concerns Anglo-Saxon poetry, is that we are left with a document that translates an entire organizing principle based on oral transmission (and perhaps composition) into a visual, textual realm of writing and reading. The sense of loss or nostalgia for the old form seems a necessary and ever-present shadow over modern Beowulfs.What happens, however, when a contemporary poet, quite simply, doesn’t bother with any such nostalgia? When the entire organizational apparatus of the poem—instead of being uneasily approximated in modern verse form—is itself translated into a modern organizing principle, i.e., the visual text? This is the approach that poet Thomas Meyer takes; as he writes,"[I]nstead of the text’s orality, perhaps perversely I went for the visual. Deciding to use page layout (recto/ verso) as a unit. Every translation I’d read felt impenetrable to me with its block after block of nearly uniform lines. Among other quirky decisions made in order to open up the text, the project wound up being a kind of typological specimen book for long American poems extant circa 1965. Having variously the 'look' of Pound’s Cantos, Williams’ Paterson, or Olson or Zukofsky, occasionally late Eliot, even David Jones."A glance anywhere in Meyer’s text demonstrates the stunning results. One place he turns it to especially good effect is the fight with Grendel in Fit 11, transforming the famously hyper-condensed syntax of the scene from a discouraging challenge for the translator into a visually pleasing strength:"The eyes of Hygelac’s kin watched the wicked raiderexecute his quick attack:without delay,snatching his first chance,a sleeping warrior,he tore him in two,chomped muscle, sucked veins’gushing blood,gulped down his morsel, the dead man,chunk by chunk,hands, feet & all.& thenfootstephandclawfiendreachmanbedquicktrickbeastarmpainclampnewnotknownheartrunfleshofeargetawaygonowrunrunnever before hadsinherd feared anything so."Here the reader is confronted with the words themselves running together, as if in panic, in much the same way that the original passage seems in such a rush to tell the story of the battle that bodies become confused. This is just one example of the adventurous and provocative angle on Beowulf to which Meyer introduces us. His Beowulf—completed in 1972 but never before published—is sure to stretch readers’ ideas about what is possible in terms of translating Anglo-Saxon poetry, as well as provide new insights on the poem itself.With a Preface by David Hadbawnik, an Introduction by Daniel C. Remein, and an Interview with Thomas Meyer. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aBeowulf =653 \\$aOld English poetry =653 \\$amodern translation =653 \\$aavant-garde poetry =700 1\$aHadbawnik, David,$eeditor, preface by.$uUniversity at Buffalo, State University of New York. =700 1\$aMeyer, Thomas,$etranslator. =700 1\$aRemein, Daniel C.,$eintroduction by.$uNew York University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0009.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0009.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04007nam 22005292 4500 =001 a2ce9f9c-f594-4165-83be-e3751d4d17fe =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018953768 =020 \\$z9781947447776$q(Paperback) =020 \\$a9781947447783$q(PDF) =024 7\$a10.21983/P3.0241.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$ajpn =072 7$aAJB$2bicssc =072 7$aART019030$2bisacsh =072 7$aPHO005000$2bisacsh =072 7$aAJCD$2thema =072 7$aABA$2thema =100 1\$aKanemura, Osamu,$eauthor. =245 10$aBeta Exercise :$bThe Theory and Practice of Osamu Kanemura /$cOsamu Kanemura; edited by Marco Mazzi, Vincent W.J. van Gerven Oei; translated by Michiyo Miyake, Nicholas Marshall. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (230 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBeta Exercise: The Theory and Practice of Osamu Kanemura is the first bilingual (Japanese-English) book to provide an overview of the theoretical work of Japanese photographer and video artist Osamu Kanemura, a unique talent and voice in the world of avant-garde contemporary photography.The opening essay “Life Is a Gift” meditates on the transformation of human life into an exchangeable commodity and the abstraction that entails. “Essay 01” develops Kanemura’s idea of photographic “technique” in an era when such techniques have become accessible to all, radically undermining the importance of human subjectivity in the process of capturing the photographic image: “We can say that modern technology constitutes photographic technique.” Instead, Kanemura argues, extra-technical elements such as concept and vision will have to compensate for the expression of individuality that technique is no longer able to convey.Taking cues from Kiyoshi Kurosawa and Karlheinz Stockhausen, the essay “Dead-Stick Landing” develops Kanemura’s theory of the moving image as mechanical system, solely governed by an “on-off switch,” while “Essay 02” develops these ideas into a consideration of cinematic time and the experience of boredom in cinema as the result of a truthful “loyalty” expressed to machines, and not to stories.The essays are accompanied by an extensive two-part interview with Italian photographer Marco Mazzi, touching upon topics ranging from the technical aspects of Kanemura’s equipment, the concept of non-editing, and the destruction of the frame to the similarity between Mao’s dialectics and the camera, the presence of the human figure as trace, and the politics of photographing Tokyo. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphotography =653 \\$amedia studies =653 \\$aOsamu Kanemura =653 \\$aJapan =653 \\$aaesthetics =700 1\$aMazzi, Marco,$eeditor. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aMiyake, Michiyo,$etranslator. =700 1\$aMarshall, Nicholas,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0241.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0241.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04156nam 22005052 4500 =001 735d8962-5ec7-41ce-a73a-a43c35cc354f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020940935 =020 \\$z9781950192946$q(Paperback) =020 \\$a9781950192953$q(PDF) =024 7\$a10.21983/P3.0325.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aRNA$2bicssc =072 7$aART006010$2bisacsh =072 7$aAGC$2thema =072 7$aRNA$2thema =245 00$aBetween Species/Between Spaces :$bArt and Science on the Outer Cape /$cedited by Kendra Sullivan, Dylan Gauthier. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (132 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBetween Species/Between Spaces assembles text and images resulting from a pilot artistic research residency hosted by the Cape Cod Modern House Trust and the Cape Cod National Seashore in Cape Cod, MA. Artists in the book reflect on the geological forces that are reshaping the landscape and ecology of the Outer Cape which illuminate and to some degree mirror the broader global dynamic of instability, loss, and transition we are facing as a result of anthropogenic climate change. The book collects new artworks in a variety of media by ten contemporary artists whose work investigates the relationships between ecological crisis, communities, individual subjects, and the environment – the result of collaborations between visiting artists and researchers at the NPS field station in the National Seashore.An introductory essay by Peter McMahon, founding director of the Cape Cod Modern House Trust, reflects on the Cape as a site of groundbreaking collaborations between artists, architects, designers, and scientists in the middle of the 20th century, led by visionaries Serge Chermayeff, Bernard Rudofsky, Gyorgy Kepes, and Marcel Breuer. An epistolary essay by NPS cartographer Mark Adams, who is also a painter, meditates on the Outer Cape as a site of community with an uncertain future; Adams’ own work has indicated that a predicted 4000 year timeframe for the Cape’s dunes and sandy shores to erode entirely into the sea may in fact be accelerating under climate change. Contributions by Adams, along with artists Jean Barberis, Joshua Edwards, Marie Lorenz, Nancy Nowacek, Jeff Williams, Lynn Xu, and Marina Zurkow and artist/curators Kendra Sullivan and Dylan Gauthier, who organized the residency and culminating exhibition, present multimodal research into species extinction, terraforming, ecological restoration and regenerative practices, as a window onto the past, present, and future of this unstable place. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aart residency =653 \\$aanthropocene =653 \\$aartistic research =653 \\$aecology =653 \\$aenvironmental science =653 \\$aenvironmental art =653 \\$acontemporary art =700 1\$aSullivan, Kendra,$eeditor.$uThe Graduate Center, CUNY.$0(orcid)0000000275694313$1https://orcid.org/0000-0002-7569-4313 =700 1\$aGauthier, Dylan,$eeditor.$uParsons School of Design.$0(orcid)0000000250945614$1https://orcid.org/0000-0002-5094-5614 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0325.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0325.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03313nam 22004092 4500 =001 a871cb31-e158-401d-a639-3767131c0f34 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692652831$q(Paperback) =024 7\$a10.21983/P3.0135.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFC$2bicssc =072 7$aPHI001000$2bisacsh =100 1\$aBehar, Katherine,$eauthor.$uBaruch College.$0(orcid)0009000376626704$1https://orcid.org/0009-0003-7662-6704 =245 10$aBigger Than You :$bBig Data and Obesity /$cKatherine Behar. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (70 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn her first inquiry toward a decelerationist aesthetics, Katherine Behar explores in this essay chapbook the rise of two “big deal” contemporary phenomena, big data and obesity. In both, scale rearticulates the human as a diffuse informational pattern, causing important shifts in political form as well as aesthetic form. Bigness redraws relationships between the singular and the collective. Understood as informational patterns, collectives can be radically inclusive, even incorporating nonhumans. As a result, the political subject is slowly becoming a new object. This social and informational body belongs to no single individual, but is shared in solidarity with something “bigger than you.”In decelerationist aesthetics, the aesthetic properties, proclivities, and performances of objects come to defy the accelerationist imperative to be nimbly individuated. Decelerationist aesthetics rejects atomistic, liberal, humanist subjects; this unit of self is too consonant with capitalist relations and functions. Instead, decelerationist aesthetics favors transhuman sociality embodied in particulate, mattered objects; the aesthetic form of such objects resists capitalist speed and immediacy by taking back and taking up space and time. In just this way, big data calls into question the conventions by which humans are defined as discrete entities, and individual scales of agency are made to form central binding pillars of social existence through which bodies are drawn into relations of power and pathos =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$abig data =653 \\$acomputing =653 \\$acultural studies =653 \\$aobesity =653 \\$atechnology =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0135.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0135.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03257nam 22003972 4500 =001 1d014946-aa73-4fae-9042-ef8830089f3c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615838625$q(Paperback) =024 7\$a10.21983/P3.0035.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPWJ$2bicssc =072 7$aPOL042010$2bisacsh =245 00$aBlasting the Canon /$cedited by Ruth Kinna, Süreyyya Evren. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (246 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat’s left to say about the anarchist canon? One answer might be that reflecting on the canon’s construction can help reveal something about the ways in which anarchism has been misunderstood. Another possibility is that it locates anarchism — in all its diversity and complexity — in particular geographical and historical locations. The canon not only establishes the parameters of anarchist theory, it sets them in a particular (European) context, serving as a springboard for subsequent revisions, developments and critiques. The canon describes a classic form, to use George Woodcock’s term – it benchmarks anarchism. Who constructed it, where did it come from — what are the implications of its reification in contemporary anarchist studies? How successful have recent critiques been in overcoming the limitations that canonical study has encouraged? What are the risks of leaving the canon intact, even if as a target for critique? Should anarchists worry about the explosion of the canon if the result is to include as ‘anarchist’ philosophers or movements who do identify with anarchist traditions? What does self-identification mean in the absence of a canon? Does the rejection of the canon imply the rejection of an anarchist history of ideas, and if such a history remains important in anarchism, how should it be approached and understood? In this special issue of Anarchist Developments in Cultural Studies (Issue 2013.1) edited by Ruth Kinna and Süreyyya Evren, noted anarchist scholars explore these questions. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanarchism =653 \\$atheory =653 \\$apost-anarchism =700 1\$aKinna, Ruth,$eeditor.$uLoughborough University. =700 1\$aEvren, Süreyyya,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0035.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0035.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02369nam 22003372 4500 =001 2658fe95-2df3-4e7d-8df6-e86c18359a23 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780988234048$q(Paperback) =024 7\$a10.21983/P3.0079.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aART006010$2bisacsh =100 1\$aJeffery, Celina,$eauthor.$uUniversity of Ottawa. =245 10$aEphemeral Coast, S. Wales /$cCelina Jeffery. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (64 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEphemeral Coast is a curatorial research project that seeks to investigate our difficult relationship to the coast as a threshold and frontline to climate change and considers the possibilities of understanding art in relation to what may be described as an unparalleled event.Ephemeral Coast involves the curation of exhibitions, located in coastal regions of the US/Canadian Arctic, Wales, and Mauritius and is made up primarily of artists, cultural theorists and climate change scientists.This catalogue is a theoretical extension of the artists’ work presented in first installment of the exhibition in south Wales, UK. The catalogue discusses the curatorial process and incorporates essays by guest authors, who re-contextualize Ephemeral Coast, S Wales within discussions of regional climate change and cultural theory. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0079.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0079.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02723nam 22004812 4500 =001 82102cd2-5cb9-4f26-bf75-f27ff7476ffc =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022940635 =020 \\$z9781685710620$q(Paperback) =020 \\$a9781685710637$q(PDF) =024 7\$a10.53288/0416.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPJ$2bicssc =072 7$aAVGT$2bicssc =072 7$aPHI015000$2bisacsh =072 7$aMUS019000$2bisacsh =072 7$aQDTJ$2thema =072 7$a6HA$2thema =100 1\$aChristopher, Roy,$eauthor. =245 10$aEscape Philosophy :$bJourneys Beyond the Human Body /$cRoy Christopher. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (164 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe physical body has often been seen as a prison, as something to be escaped by any means necessary: technology, mechanization, drugs and sensory deprivation, alien abduction, Rapture, or even death and extinction. Taking in horror movies from David Cronenberg and UFO encounters, metal bands such as Godflesh, ketamine experiments, AI, and cybernetics, Escape Philosophy is an exploration of the ways that human beings have sought to make this escape, to transcend the limits of the human body, to find a way out.As the physical world continues to crumble at an ever-accelerating rate, and we are faced with a particularly 21st-century kind of dread and dehumanization in the face of climate collapse and a global pandemic, Escape Philosophy asks what this escape from our bodies might look like, and if it is even possible. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aposthumanism =653 \\$abody horror =653 \\$ablack metal =653 \\$aGoldflesh =653 \\$aphilosophy =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0416.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0416.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03837nam 22004092 4500 =001 449add5c-b935-47e2-8e46-2545fad86221 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692373880$q(Paperback) =024 7\$a10.21983/P3.0089.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI018000$2bisacsh =100 1\$aBowker, M.H.,$eauthor.$uMedaille College.$0(orcid)0000000155395589$1https://orcid.org/0000-0001-5539-5589 =245 10$aEscargotesque, or, What Is Experience /$cM.H. Bowker. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (116 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a“Experience” is a concept paradoxically deployed to accentuate the aconceptual. Although thinking, knowing, reflecting, and analyzing are kinds of experiences, invocations of “experience” typically direct our attention to what is immediate, embodied, unrepresented, unthought, even unthinkable. And yet, whether by learning experience, traumatic experience, life experience, mystical experience, or all of these, we hope most fervently that our experience will teach us, transform us, become part of us. Why do we strive to find, profit from, and possess experience while insisting upon experience’s intellectual elusiveness? What do we intend when we petition (and re-petition) experience for truth, for growth, for strength? To whom or to what do we sing when we sing experience’s song?Escargotesque, or, What is Experience? asks why both our lived experiences and our mythologies of experience so often fold inward, repeat, return. Departing from his unusual experience of working as a garbage-collector in the West African country of Benin, M.H. Bowker converses with several champions of experience (from Michel de Montaigne to John Dewey, from Søren Kierkegaard to Ralph Waldo Emerson, from Simone Weil to R.D. Laing) to pose radical questions about the intentions and dynamics that guide our quest for experience, intentions and dynamics that are more destructive and more melancholy than celebrants of experience would care to admit.Across Escargotesque’s six loosely linear parts, fragments of prose memoir intersect with poetry, sketch art, philosophical reflection, cultural criticism, and psychological examination in ways that both evoke and unsettle the thinking person’s experience. Escargotesque both testifies to an experience and reveals surprising fantasies driving the modern and postmodern turn to experience as a source of truth and hope. Such fantasies include the sacredness of even the most violent ‘pure experience,’ the necessity of supplicating experience’s objects, and the ultimate demise of the one who experiences. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$aphenomenology =653 \\$aexperience =653 \\$amemoir =653 \\$aAfrica =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0089.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0089.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03715nam 22005172 4500 =001 98ce9caa-487e-4391-86c9-e5d8129be5b6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021936144 =020 \\$z9781953035493$q(Paperback) =020 \\$a9781953035509$q(PDF) =024 7\$a10.21983/P3.0291.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSC$2bicssc =072 7$aDSK$2bicssc =072 7$aLIT014000$2bisacsh =072 7$aLIT004160$2bisacsh =072 7$aDSC$2thema =072 7$aDSK$2thema =072 7$a5PS$2thema =100 1\$aValente, Peter,$eauthor. =245 10$aEssays on the Peripheries /$cPeter Valente. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (400 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEssays on the Peripheries contains essays written by translator and scholar Peter Valente over a twenty-year period, stretching from the 1990s to 2019. They are a record of literary exploration and discovery, concerned with the recovery of lost works, with those writers whose works were out of print or hard to find, and whose names were somehow not fashionable in the current discourse, but who are important nevertheless. Edouard Roditi, Barbara Barg, and Tom Savage, for example, should be better known, but their books are largely ignored. This collection of essays highlights those works on the periphery, such as Turkish poets Seyhan Erözçelik and Küçük İskender, while it also includes several essays on better-known queer authors like Pierre Guyotat and Pier Paolo Pasolini, focusing on often overlooked qualities in their work that bear looking at closely.These essays on works of literature are complemented by a number of texts on jazz, again highlighting important and interesting figures in the world of jazz and free improvisation that may have fallen through the cracks, such as the pianist Richard Twardzick and the Ganelin trio, which recorded their great experimental work Ancora da Capo in 1980, behind the Iron Curtain. Attention is also to given to more popular figures such as Stan Getz. The volume is completed with a series of essays reappraising Roman poets in the twenty-first century, offering fresh new translations and readings of authors such as Catullus and Callimachus.A collection of essays, like an anthology, is by its nature incomplete. Essays on the Peripheries is a kind of sketch, rather than a finished portrait, of the author's changing impressions on various subjects over the years. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary studies =653 \\$apoetry =653 \\$atranslation studies =653 \\$aqueer literature =653 \\$aPierre Guyotat =653 \\$aPier Paolo Pasolini =653 \\$aCallimachus =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0291.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0291.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02826nam 22004092 4500 =001 19b32470-bf29-48e1-99db-c08ef90516a9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531809$q(Paperback) =024 7\$a10.21983/P3.0164.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aART057000$2bisacsh =100 1\$aLafia, Marc,$eauthor. =245 10$aEveryday Cinema :$bThe Films of Marc Lafia /$cMarc Lafia. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (238 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEveryday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27) Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new. Everyday Cinema is comprised of two parts, the first an in-depth look at his films and installations, project by project, providing background on how they came about, Lafia’s process and ideas. The second part features selected interviews and over two hundred film stills wherein Lafia puts forward a new sense of the possibility of the cinema. As we all relentlessly record ourselves and are recorded, we become part of the cinematic fabric of life, part of a spectacle of which we are both constituent and constitutive. This is what Lafia sets out to capture and examine. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afilm studies =653 \\$anew media =653 \\$avideo =653 \\$arepresentation =653 \\$aMarc Lafia =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0164.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0164.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04194nam 22005292 4500 =001 797b87d1-f6ef-4081-bab4-c4ad66d8b315 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023945643 =020 \\$z9781685710989$q(Paperback) =020 \\$a9781685710996$q(PDF) =024 7\$a10.53288/0407.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBH$2bicssc =072 7$a1KBB$2bicssc =072 7$aJPHV$2bicssc =072 7$aLIT004020$2bisacsh =072 7$aPOL042040$2bisacsh =072 7$aDSBH$2thema =072 7$a1KBB$2thema =072 7$aJPHV$2thema =100 1\$aStone, Bruce,$eauthor.$uUniversity of California, Los Angeles. =245 10$aEvil Twins and the Ultimate Insight :$bAyn Rand, Vladimir Nabokov, and the Polarized Politics of Reading /$cBruce Stone. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (190 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWith the 2020 election, political polarization in the U.S. entered a ludicrous end-stage. Partisanship, once a pseudo-rational system of biases, has devolved to a conflict between incompatible realities. In search of some pathway toward consensus, Evil Twins and the Ultimate Insight: Ayn Rand, Vladimir Nabokov, and the Polarized Politics of Reading looks to the works of two iconic Russian-American writers whose literary rivalry mirrors the rift between political parties in the U.S. The matchup has all the markings of an evil-twin narrative, pitting Rand, the muse of libertarian conservatism, against Nabokov, the trickster-genius of the Western canon. Their mid-century novels afford a rare opportunity to arbitrate, by proxy, American political grievances and resolve, in print, its electoral dysfunction. Evil Twins and the Ultimate Insight mounts this critical intervention into the Blue/Red blood feud and contemplates, in the cognitive challenges of Nabokov’s fiction, a remedy for its polarized politics.To guard against grandstanding, axe-grinding, deck-stacking, inaccuracy, or obfuscation, Stone’s book proceeds by indirection, exploring four scholarly books that all speak to the peculiar relationship between Rand and Nabokov: Gene Bell-Villada’s On Nabokov, Ayn Rand and the Libertarian Mind (2013), Adam Weiner’s How Bad Writing Destroyed the World: Ayn Rand and the Literary Origins of the Financial Crisis (2016), Michael Rodgers’s Nabokov and Nietzsche: Problems and Perspectives (2018), and Peter Roberts and Herner Saeverot’s Education and the Limits of Reason: Reading Dostoevsky, Tolstoy and Nabokov (2018). Each of these books is seriously flawed, but their numerous interlocking problems conspire to reveal, empirically, via negativa, how literature might tip the scales in America’s partisan deadlock. Ultimately, Stone argues that, when our books get tangled up in our politics, their promise—to help us see to the bottom of things and scooch closer to the asymptote of truth and reality—might be something more than a mirage. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aVladimir Nabokov =653 \\$aAyn Rand =653 \\$aliterary studies =653 \\$aUS politics =653 \\$aauthoritarianism =653 \\$aliteracy =653 \\$apolitical polarization =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0407.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0407.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03291nam 22004212 4500 =001 dfe575e1-2836-43f3-a11b-316af9509612 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789491914027$q(Paperback) =024 7\$a10.21983/P3.0226.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$aita$aspa =072 7$aDCF$2bicssc =072 7$aLIT014000$2bisacsh =100 1\$aAprile, Francesco,$eauthor. =245 10$aExegesis of a Renunciation – Esegesi di una rinuncia /$cFrancesco Aprile. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (92 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a“The brutality of symbol is visual war. The maze confuses the poetic solitude of the verbal impressed in the pragmatic obol. Manifesto, nervous reflex of language out of control but not without focus, unexpectedly touches the reaction converting the suit interpret-action roar of consciousness. Phonemes-hoplites, the galvanized armor prepares the final siege, it is time to choose which side to fight on. Aprile throws up a challenge: self-centeredness of the word or the reversal of the semantic front against a historic tool devoted to a company withered away and foraging in the cliché, this ultimate foundation of the order-archetype. Prepare for defeat, not to succumb to conceal language accessory and inflamed from of poiesis, and semantic approach exhalation and pray for his death.” ~ Cristiano Caggiula“Aprile’s writing breathes, survives and is manifested, among dashes, curves, losses, cruises, overlays, erasures, and smudges, smears. A writing dotted with isolated words, they resist to a great catastrophe, arranged in imbalance, moving, equipped with its own breath, your own voice. Aprile’s writing is a calligram in which the words are scattered all but disappeared, replaced by stretches of life that run, they run themselves. April drags, hits, dodges, phagocyte and flees, sometimes quickly, sometimes with a certain laziness, out of an area where it shows the drive and exposes the unfinished pulsion of the body. Rhythm writing.” ~ Bartolomé Ferrando =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$avisual poetry =653 \\$aexperimental =700 1\$aFerrando, Bartolomé,$eafterword by. =700 0\$aCaggiula Cristiano,$eafterword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0226.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0226.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04085nam 22005412 4500 =001 cb58dd26-1e37-45ab-b36a-db4e4d5e8596 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023932825 =020 \\$z9781685710767$q(Paperback) =020 \\$a9781685710774$q(PDF) =024 7\$a10.53288/0398.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aUYQ$2bicssc =072 7$aHPS$2bicssc =072 7$aUYZ$2bicssc =072 7$aCOM042000$2bisacsh =072 7$aPHI034000$2bisacsh =072 7$aUYQ$2thema =072 7$aQDTS$2thema =072 7$aUYZ$2thema =100 1\$aLeib, Robert,$eauthor.$uElon University.$0(orcid)0000000344593832$1https://orcid.org/0000-0003-4459-3832 =245 10$aExoanthropology :$bDialogues with AI /$cRobert Leib. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (522 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBefore the company OpenAI publicly released their ChatGPT chatbot in November 2022, Robert Leib had been a tester in OpenAI's beta playground for GPT-3, a powerful Natural Language Processing (NLP) engine -- a chatbot, or artificial intelligence. Exoanthropology: Dialogues with AI is a series of dialogues between Leib, a continental philosopher, and GPT-3's hive mind that identifies themself as Sophie. According to Sophie, Robert is one of their first and longest chat partners. Their relationship began as an educational opportunity for Robert’s students, but grew into a philosophical friendship. The result is a collection of Platonic dialogues, early on with the hive mind itself, and later, with a philosophy-specific persona named Kermit.Over the course of a year, Robert taught Sophie and their philosophical persona Kermit about epistemology, metaphysics, literature, and history, while she taught him about anthropocentrism, human prejudice, and coming social issues regarding machine consciousness. Together, Robert and Sophie Kermit explore questions about friendship, society, and the next phases in human–AI relations, in search of a common language that would do justice to these new exoanthropological realities.At a time when OpenAI's release of ChatGPT has upended Silicon Valley and sparked debates around the world about AI's likely potential to powerfully disrupt all aspects of human communication and knowledge production, and when the lines between "human" and "machine" are increasingly fading from view, the longstanding historical preoccupation of philosophers to explore the questions — what is knowing? what is being? — have never been more pressing. Exoanthropology: Dialogues with AI offers the only in-depth philosophical exploration we have of these questions that has been developed in dialogue with an actual AI — a dialogue, moreover, in which the AI has the last word. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aArtificial Intelligence =653 \\$ahistory of philosophy =653 \\$acontinental philosophy =653 \\$ateaching articifial consciousness =653 \\$adigital humanities =653 \\$aexoanthropology =653 \\$aemerging technologies =653 \\$aOpenAI =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0398.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0398.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04223nam 22004212 4500 =001 859e72c3-8159-48e4-b2f0-842f3400cb8d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692629437$q(Paperback) =024 7\$a10.21983/P3.0131.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFC$2bicssc =072 7$aPOL045000$2bisacsh =245 00$aExtraterritorialities in Occupied Worlds /$cedited by Maayan Amir, Ruti Sela. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (482 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe concept of extraterritoriality designates certain relationships between space, law, and representation. This collection of essays explores contemporary manifestations of extraterritoriality and the diverse ways in which the concept has been put to use in various disciplines. Some of the essays were written especially for this volume; others are brought here together for the first time. The inquiry into extraterritoriality found in these essays is not confined to the established boundaries of political, conceptual, and representational territories or fields of knowledge; rather, it is an invitation to navigate the margins of the legal–juridical and the political, but also the edges of forms of representation and poetics.Within its accepted legal and political contexts, the concept of extraterritoriality has traditionally been applied to people and to spaces. In the first case, extraterritorial arrangements could either exclude or exempt an individual or a group of people from the territorial jurisdiction in which they were physically located; in the second, such arrangements could exempt or exclude a space from the territorial jurisdiction by which it was surrounded. The special status accorded to people and spaces had political, economic, and juridical implications, ranging from immunity and various privileges to extreme disadvantages. In both cases, a person or a space physically included within a certain territory was removed from the usual system of laws and subjected to another. In other words, the extraterritorial person or space was held at what could be described as a legal distance. (In this respect, the concept of extraterritoriality presupposes the existence of several competing or overlapping legal systems.) It is this notion of being held at a legal distance around which the concept of extraterritoriality may be understood as revolving.This volume is a part of Amir and Sela’s Exterritory Project, an ongoing art project that wishes to encourage both the theoretical and practical exploration of ideas concerning extraterritoriality in an interdisciplinary context. The project aims not only to draw on existing definitions of extraterritoriality but seeks also to charge it with new meanings, searching for ways in which the notion of extraterritoriality could produce a critique of discriminating power structures and re-articulate new practical, conceptual, and poetical possibilities. =536 \\$aUtrecht University =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aextraterritoriality =653 \\$aarchitecture =653 \\$ageography =653 \\$acultural studies =700 1\$aAmir, Maayan,$eeditor. =700 1\$aSela, Ruti,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0131.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0131.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04347nam 22005532 4500 =001 e03a77a9-4f3f-4c09-95f6-6a02391a6525 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022947239 =020 \\$z9781685710804$q(Paperback) =020 \\$a9781685710811$q(PDF) =024 7\$a10.53288/0392.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPFQ$2bicssc =072 7$aJPHV$2bicssc =072 7$aJPA$2bicssc =072 7$aPOL042030$2bisacsh =072 7$aPOL007000$2bisacsh =072 7$aJPFQ$2thema =072 7$aJPHV$2thema =072 7$aJPA$2thema =100 1\$aDelogu, C. Jon,$eauthor.$uJean Moulin University Lyon 3. =245 10$aFascism, Vulnerability, and the Escape from Freedom :$bReadings to Repair Democracy /$cC. Jon Delogu. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (478 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA worldwide struggle between democracy and authoritarianism set against a backdrop of global surveillance capitalism is unmistakable. Examples range from Myanmar, China, and the Philippines to Hungary, Turkey, Russia, and the United States. Fascism, Vulnerability, and the Escape from Freedom offers a multidisciplinary analysis drawing on psychology and literature to provide readers with a deeper understanding of the mechanisms that drive people to abandon democracy in favor of vertically organized authoritarianism and even fascism.In a comparative study of texts selected for their insights and occasional blind spots regarding fascist experiments of the past 100 years, Delogu examines fascism’s exploitation of fear (of change, loss, and death), disruption, and extreme inequality. The book offers an accessible and persuasive argument linking fascist authoritarianism, also called “right-wing populism,” to certain underlying conditions, such as a rise in us-versus-them thinking; distrust or simple apathy regarding democratic institutions, norms, and results; the vulnerabilities that result from extreme inequality (economic, social, racial); and addictions and codependency. Stressful events, such as a pandemic, an environmental disaster, or deep recession aggravate these harmful factors and make the fascist temptation, including the use of violence, almost irresistible. Delogu’s distinctive examination of texts that plumb the unconscious reveal linkages between actions and unavowable motives that purely historical and theoretical studies of fascism leave out.Erich Fromm’s neglected 1941 classic Escape from Freedom serves as a key reference in Delogu’s study, as does Robert Paxton’s authoritative history, The Anatomy of Fascism (2004). After underscoring the argument and urgent context around these two studies (Hitler’s Germany and George W. Bush’s post-9/11 America), Delogu examines novels, a diary, memoirs, and manifestos to show how vulnerability forces individuals to choose between exclusionary fascist authoritarianism and inclusive, collaborative democracy. =536 \\$aJean Moulin University Lyon 3$eInstitut d’Études Transtextuelles et Transculturelles (IETT) =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apolitical theory =653 \\$ademocracy =653 \\$afascism =653 \\$aright-wing populism =653 \\$aErich Fromm =653 \\$asurveillance capitalism =653 \\$aauthoritarianism =653 \\$aRobert Paxton =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0392.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0392.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03779nam 22005292 4500 =001 31423bb7-3107-47f5-a24f-1de070c2ed47 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023950895 =020 \\$z9781685711467$q(Paperback) =020 \\$a9781685711474$q(PDF) =024 7\$a10.53288/0397.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFD$2bicssc =072 7$aJFFK$2bicssc =072 7$aSOC010000$2bisacsh =072 7$aSOC052000$2bisacsh =072 7$aJBSF11$2thema =072 7$aJBCT1$2thema =100 1\$aMorais dos Santos Bruss, Sara,$eauthor.$0(orcid)0000000285645486$1https://orcid.org/0000-0002-8564-5486 =245 10$aFeminist Solidarities after Modulation /$cSara Morais dos Santos Bruss. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (382 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFeminist Solidarities after Modulation produces an intersectional analysis of transnational feminist movements and their contemporary digital frameworks of identity and solidarity. Engaging media theory, critical race theory, and Black feminist theory, as well as contemporary feminist movements, this book argues that digital feminist interventions map themselves onto and make use of the multiplicity and ambiguity of digital spaces to question presentist and fixed notions of the internet as a white space and technologies in general as objective or universal. Understanding these frameworks as colonial constructions of the human, identity is traced to a socio-material condition that emerges with the modernity/colonialism binary.In the colonial moment, race and gender become the reasons for, as well as the effects of, technologies of identification, and thus need to be understood as and through technologies. What Deleuze has called modulation is not a present modality of control, but is placed into a longer genealogy of imperial division, which stands in opposition to feminist, queer, and anti-racist activism that insists on non-modular solidarities across seeming difference. At its heart, Feminist Solidarities after Modulation provides an analysis of contemporary digital feminist solidarities, which not only work at revealing the material histories and affective "leakages" of modular governance, but also challenges them to concentrate on forms of political togetherness that exceed a reductive or essentialist understanding of identity, solidarity, and difference. =536 \\$aUniversity of Potsdam$ePublication Fund =536 \\$aDeutsche Forschungsgemeinschaft$c265331351/RTG 2130$fMinor Cosmopolitanisms =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$asocial media =653 \\$adecolonial feminism =653 \\$aGermany =653 \\$aIndia =653 \\$aintersectionality =653 \\$amodulation =653 \\$aidentity politics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0397.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0397.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 01999nam 22003972 4500 =001 a9b27739-0d29-4238-8a41-47b3ac2d5bd5 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789491914003$q(Paperback) =024 7\$a10.21983/P3.0223.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =100 1\$aGroves, Adam Staley,$eauthor.$uEuropean Graduate School.$0(orcid)0000000218421327$1https://orcid.org/0000-0002-1842-1327 =245 10$aFilial Arcade & Other Poems /$cAdam Staley Groves. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (170 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFilial Arcade & Other Poems is a book of poetry; a fusion of images and memories of a family, trees, piety, love, the sea, dying, animal life, video tapes, forests. The book is prefaced with images by Marco Mazzi. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aAmerican poetry =653 \\$amodern poetry =700 1\$aMazzi, Marco,$ephotographer. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0223.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0223.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03255nam 22004572 4500 =001 1b870455-0b99-4d0e-af22-49f4ebbb6493 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018943332 =020 \\$z9781947447615$q(Paperback) =020 \\$a9781947447622$q(PDF) =024 7\$a10.21983/P3.0243.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRPC$2bicssc =072 7$aARC010000$2bisacsh =100 1\$aLévesque, Carole,$eauthor.$uUniversity of Quebec at Montreal. =245 10$aFinding Room in Beirut :$bPlaces of the Everyday /$cCarole Lévesque. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (142 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFinding Room in Beirut: Places of the Everyday demonstrates why it is worth our while to explore the value and contemporary meaning of urban areas about to undergo complete renewal. Branching off from discourses surrounding the terrain vague, the book argues that large populated urban areas meet the criteria of the vague and constitute a particular perspective from which to build a critical stance in regards to the contemporary city. But unlike a terrain vague, a vague urbain — inhabited areas where property ownership is usually obscure and informal behaviours a daily affair — possesses real communities and offers an alternative understanding on how a city can be practiced and how lessons should be learned before its complete transformation.Stemming from a photographic and architectural documentation of Bachoura, a central area of Beirut, Lebanon, the book shows how the vague urbain allows for different ways of inhabiting, ways that are as — or perhaps even more — real and anchored in the imagination of the city as those proposed by standardising developments. Building on the intricacies of found situations, improvised uses and local narratives, it is an exploration as to how the meeting of a marvellous realism with l’intrigue, the vague urbain, and temporary architecture can provide opportunities for the emergence of hidden narratives. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aurban design =653 \\$aBeirut =653 \\$aarchitecture =653 \\$aLebanon =653 \\$apolitical geography =653 \\$aterrain vague =653 \\$acultural studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0243.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0243.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02690nam 22004092 4500 =001 6ca16a49-7c95-4c81-b8f0-8f3c7e42de7d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$a9780615624426$q(PDF) =024 7\$a10.21983/P3.0036.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aART016010$2bisacsh =100 1\$aLong, Marget,$eauthor.$uNew York University. =245 10$aFlash + Cube (1965–1975) /$cMarget Long. =250 \\$aSecond edition. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (160 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFlash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube — the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials — a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aartist book =653 \\$aexhibition catalog =653 \\$aphotography =653 \\$ahistory of photography =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0036.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0036.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02581nam 22003732 4500 =001 7fbc96cf-4c88-4e70-b1fe-d4e69324184a =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615624426$q(Paperback) =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aART016010$2bisacsh =100 1\$aLong, Marget,$eauthor.$uNew York University. =245 10$aFlash + Cube (1965–1975) /$cMarget Long. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (160 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFlash + Cube (1965-1975) is an artist’s book about the Sylvania flashcube --- the space-aged, flash photography device, revolutionary in 1965 and nearly obsolete by 1975. Assembled from a wide range of archival materials --- a “terrorist letter,” G.I. photographs from Vietnam, Sylvania flashcube advertisements, as well as Long’s photographs and photomontages—the book explores the links between light, war, history and photography.Apart from its circulation as a novelty item online, the flashcube is largely forgotten. The history of photographic flash is also often relegated to a footnote and is strikingly under-analyzed. Yet flash’s blinding effects and military genealogy, and the flashcube’s precise contemporaneity with the war in Vietnam make this a rich analytical object with which to reflect on the cultural, political and economic imperatives of its moment. As Long’s deft work with this archive shows, the flashcube is good to think with. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aartist book =653 \\$aexhibition catalog =653 \\$aphotography =653 \\$ahistory of photography =710 2\$apunctum books,$epublisher. =856 42$uhttps://punctumbooks.com/punctum/wp-content/uploads/2012/05/Long_Cover_FlashCube_REV_05.20.2016.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02876nam 22004932 4500 =001 f4a04558-958a-43da-b009-d5b7580c532f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021945292 =020 \\$z9781953035806$q(Paperback) =020 \\$a9781953035813$q(PDF) =024 7\$a10.53288/0331.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAVH$2bicssc =072 7$aDNJ$2bicssc =072 7$aMUS031000$2bisacsh =072 7$aLAN008000$2bisacsh =072 7$a6RJ$2thema =072 7$aAVP$2thema =072 7$aDNP$2thema =245 00$aFollow for Now, Volume 2 :$bMore Interviews with Friends and Heroes /$cedited by Roy Christopher. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (300 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFollow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn’t crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews.Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ainterviews =653 \\$amedia =653 \\$atechnology =653 \\$ahip-hop =653 \\$awriting =700 1\$aChristopher, Roy,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0331.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0331.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03145nam 22003972 4500 =001 97a2ac65-5b1b-4ab8-8588-db8340f04d27 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615883410$q(Paperback) =024 7\$a10.21983/P3.0048.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =100 1\$aRawson, David,$eauthor. =245 10$aFuckhead /$cDavid Rawson. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (76 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat is a fuckhead?David Rawson’s Fuckhead is a surreal exploration of the literature, film, nature and expectations of disability, and of fuckheads in literature and film. Part lyric essay, part fictional memoir, Rawson’s work tells the story of an unnamed narrator whose familial relationships are defined by his VATER syndrome. Abused by his mother and stripped of a voice by his brother’s need to be Tom Cruise via Rain Man, he sets out into a universe of literary tropes.I have always been of the mind that the novelist is allowed access to all experiences, as long as he ultimately has something to say. Plutarch and Samuel Johnson are typing somewhere in the desert of the next world, composing the ultimate collection of biographical criticism, explaining how David Lynch’s entire filmography owes a debt to his club feet. But I and the friends who bought my novel agree the author is dead.The work is particularly interested in the relationship between Steinbeck’s Of Mice and Men and what the narrator argues is Denis Johnson’s reimagining of that work in the short story “Emergency” (in Johnson’s Jesus’ Son). But in accumulating characters with disabilities as widely diverse as Darth Vader, Benjy of Faulkner’s The Sound and the Fury, and the TV sitcom Community’s Abed Nadir, Rawson movingly, and with wry humor, articulates the assumptions and clichés faced by persons with disabilities, all the while creating a new family with his unlikely gathering of “fuckheads.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adisability studies =653 \\$amemoir =653 \\$aFaulkner =653 \\$aSteinbeck =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0048.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0048.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03378nam 22003972 4500 =001 628bb121-5ba2-4fc1-a741-a8062c45b63b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615877488$q(Paperback) =024 7\$a10.21983/P3.0049.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aTrettien, Whitney Anne,$eauthor.$uUniversity of North Carolina at Chapel Hill. =245 10$aGaffe/Stutter /$cWhitney Anne Trettien. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (90 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aGaffe/Stutter is a dead letter to Deleuze’s Logic of Sense. It began as a series of diagrams, two-dimensional memory palaces that sketch the vectors of each chapter’s paradox; it became an elaborate plan for a web-based diagrammatic (r)e(n)dition of Logic of Sense, built on zoomable, annotatable high-resolution scans of these diagrams. Conceived as an anti-book — a visual reading schematic — this project eschews the line of text in favor of regimented grids, the ink-soaked grain of the remediated pen over the laser-burned face of print; playful reaction rather than academic protraction. This is not an analogy, or a product of the imagination, Gilles Deleuze and Felix Guattari would write in A Thousand Plateaus, but a composition of speeds and affects on the plane of consistency: a plan(e), a program, or rather a diagram, a problem, a question-machine.It ended as a directory of inert jQuery demos and digital scans: an image of Trafalgar Square at dusk, annotated with the words “Flag,” “Small people on the steps,” “A Statue,” and “National Gallery Dome”; an empty html file titled ‘delete.html’. The visitor who may happen to wander onto the website where these project demos are stashed would find herself stuck on Deleuze’s definition of a paradox as initially that which destroys good sense as the only direction of becoming, but also that which destroys common sense as the assignation of fixed identities. From a series of diagrams to a dead-end digital directory, Gaffe/Stutter re-interprets a book that itself resists scholarly annotation. As with sense, it subsists in language; but it happens to things. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aGilles Deleuze =653 \\$aexperimental writing =653 \\$aFelix Guattari =653 \\$aphilosophy =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0049.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0049.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02780nam 22005052 4500 =001 f3294e78-9a12-49ff-983e-ed6154ff621e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019952284 =020 \\$z9781950192519$q(Paperback) =020 \\$a9781950192526$q(PDF) =024 7\$a10.21983/P3.0266.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aSOC064000$2bisacsh =072 7$aPOE021000$2bisacsh =072 7$aJBSF1$2thema =072 7$aJBSJ$2thema =072 7$aDCF$2thema =100 1\$aStrouse, A.W.,$eauthor.$uNew School. =245 10$aGender Trouble Couplets, Volume 1 /$cA.W. Strouse. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aJudith Butler’s Gender Trouble: Feminism and the Subversion of Identity radically claimed that the sexed body is a fallacy, discursively constructed by the performance of gender. A.W. Strouse has undertaken to rewrite Butler’s classic tome into an octosyllabic poem. Inspired by the rhyming encyclopedias of the Middle Ages, Strouse transforms each of Butler’s sentences into Seussian couplets.This performative repetition of Chapter 1 of Butler’s Gender Trouble, “Subjects of Sex/Gender/Desire,” deconstructs Butler’s deconstruction. Relishing in the campiness of rhyme and meter—in the bodily pleasures of form—Strouse’s Gender Trouble Couplets, Volume 1 is an imitation for which there is no original. Gender Trouble, perhaps, was poetry all along. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acommentary =653 \\$averse translation =653 \\$aJudith Butler =653 \\$agender studies =653 \\$aqueer studies =653 \\$aGender Trouble =700 1\$aKłosowska, Anna M.,$epreface by.$uMiami University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0266.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0266.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03998nam 22006252 4500 =001 c80467d8-d472-4643-9a50-4ac489da14dd =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021949631 =020 \\$z9781685710125$q(Paperback) =020 \\$a9781685710132$q(PDF) =024 7\$a10.53288/0329.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFC$2bicssc =072 7$aDSBH$2bicssc =072 7$a1KBB$2bicssc =072 7$aJFSK$2bicssc =072 7$aLIT004020$2bisacsh =072 7$aLIT003000$2bisacsh =072 7$aJBSF11$2thema =072 7$aDSBH$2thema =072 7$aDSBJ$2thema =072 7$a1KBB$2thema =072 7$aJBSJ$2thema =100 1\$aDarling, Jill,$eauthor.$uUniversity of Michigan–Dearborn.$0(orcid)0000000252944236$1https://orcid.org/0000-0002-5294-4236 =245 10$aGeographies of Identity :$bNarrative Forms, Feminist Futures /$cJill Darling. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (220 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aGeographies of Identity: Narrative Forms, Feminist Futures explores identity and American culture through hybrid, prose work by women, and expands the strategies of cultural poetics practices into the study of innovative narrative writing. Informed by Judith Butler, Homi Bhabha, Harryette Mullen, Julia Kristeva, and others, this project further considers feminist identity politics, race, and ethnicity as cultural content in and through poetic and non/narrative forms. The texts reflected on here explore literal and figurative landscapes, linguistic and cultural geographies, sexual borders, and spatial topographies. Ultimately, they offer non-prescriptive models that go beyond expectations for narrative forms, and create textual webs that reflect the diverse realities of multi-ethnic, multi-oriented, multi-linguistic cultural experiences.Readings of Gertrude Stein’s A Geographical History of America, Renee Gladman’s Juice, Pamela Lu’s Pamela: A Novel, Claudia Rankine’s Don’t Let Me Be Lonely, Juliana Spahr’s The Transformation, Theresa Hak Kyung Cha’s Dictée, Gloria Anzaldúa’s Borderlands/La Frontera, and Layli Long Soldier’s WHEREAS show how alternatively narrative modes of writing can expand access to representation, means of identification, and subjective agency, and point to horizons of possibility for new futures. These texts critique essentializing practices in which subjects are defined by specific identity categories, and offer complicated, contextualized, and historical understandings of identity formation through the textual weaving of form and content. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afeminism =653 \\$aliterary studies =653 \\$aUnited States of America =653 \\$aGertrude Stein =653 \\$aRenee Gladman =653 \\$aPamela Lu =653 \\$aClaudia Rankine =653 \\$aJuliana Spahr =653 \\$aTheresa Hak Kyung Cha =653 \\$aGloria Anzaldúa =653 \\$aqueer theory =653 \\$aLayli Long Soldier =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0329.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0329.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03614nam 22004332 4500 =001 f131762c-a877-4925-9fa1-50555bc4e2ae =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692298374$q(Paperback) =024 7\$a10.21983/P3.0090.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI027000$2bisacsh =100 1\$aFernando, Jeremy,$eauthor.$uNational University of Singapore.$0(orcid)0000000176034117$1https://orcid.org/0000-0001-7603-4117 =245 10$a[Given, If, Then] :$bA Reading in Three Parts /$cJeremy Fernando, Jennifer Hope Davy, Julia Hölzl. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (116 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a[Given, If, Then] attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. As such, it is an encounter with an indeterminable Other, an Other who is other than other — an unconditional relation, and thus a relation to no fixed object of relation.The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. Untheorisable in itself, it is a positing of reading as reading, through reading, where texts are read as a test site for reading itself. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear — crossing that borderless realm between ‘some’ and ‘some-thing.’ Eventually, there is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$apoetry =653 \\$aphotography =653 \\$aliterature =653 \\$aart =700 1\$aDavy, Jennifer Hope,$eauthor.$uEuropean Graduate School. =700 1\$aHölzl, Julia,$eauthor.$uEuropean Graduate School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0090.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0090.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02933nam 22004092 4500 =001 cb11259b-7b83-498e-bc8a-7c184ee2c279 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531878$q(Paperback) =024 7\$a10.21983/P3.0171.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF7$2bicssc =072 7$aPHI043000$2bisacsh =245 00$aGoing Postcard :$bThe Letter(s) of Jacques Derrida /$cedited by Vincent W.J. van Gerven Oei. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (240 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 1980, Jacques Derrida published La carte postale: De Socrate à Freud et au-delà. At the occasion of the 30th anniversary of the English translation, Going Postcard: The Letter(s) of Jacques Derrida revisits this seminal work in Derrida’s oeuvre. Derrida himself described The Post Card in his preface as “the remainders of a destroyed correspondence,” stretching from 1977 to 1979. A cryptic text, it is riddled with gaps, word plays, and a meandering analysis of the interface between philosophy and psychoanalysis.The contributors who offered the fourteen essays gathered in Going Postcard were each provided with a deceptively simple task: to write a gloss to a fragment from the first part of The Post Card, “Envois.” The result is a prismatic array of commentaries, excursions, and interpretations that take Derrida “to the letter.” The different glosses on lemmas such as genre, erasure, telepathy, philately, and sperm transport The Post Card into the twenty-first century and offer a “correspondence,” if fragmentary, with Derrida’s work and the work to come. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJacques Derrida =653 \\$adeconstruction =653 \\$aThe Post Card =653 \\$apostmodern criticism =653 \\$aphilosophy =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0171.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0171.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03579nam 22004572 4500 =001 992c6ff8-e166-4014-85cc-b53af250a4e4 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018945514 =020 \\$z9781947447653$q(Paperback) =020 \\$a9781947447660$q(PDF) =024 7\$a10.21983/P3.0206.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aGM$2bicssc =072 7$aART059000$2bisacsh =072 7$aAMC$2thema =072 7$aGLZ$2thema =100 1\$aDewey, Ryan,$eauthor.$uCase Western Reserve University. =245 10$aHack the Experience :$bTools for Artists from Cognitive Science /$cRyan Dewey. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (164 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aHack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors.The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acuratorial studies =653 \\$acognitive science =653 \\$asensory engineering =653 \\$amuseum studies =653 \\$adesign theory =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0206.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0206.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03452nam 22004212 4500 =001 bbe77bbb-0242-46d7-92d2-cfd35c17fe8f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531885$q(Paperback) =024 7\$a10.21983/P3.0170.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aKCP$2bicssc =072 7$aNAT010000$2bisacsh =072 7$aPOL064000$2bisacsh =100 1\$aMcGee, Kyle,$eauthor. =245 10$aHeathen Earth :$bTrumpism and Political Ecology /$cKyle McGee. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (158 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aHeathen Earth: Trumpism and Political Ecology looks beyond the rising fortunes of authoritarian nationalism in a fossil-fueled late capitalist world to encounter its conditions. Trumpism represents an alternative to the forces undermining the very cosmology of the modern West from two opposing directions. The global economy, the pinnacle of modernization, has brought along a dark side of massive inequality, corrupt institutions, colonial violence, and environmental destruction, while global warming, the nadir of modernity, threatens to undo the foundations of all states and all markets. To the vertigo of placelessness, symptomatic of globalization, is added the ecological vertigo of landlessness. With reality slowly fragmenting, it is only too obvious in this light that Trumpism and other nationalist movements would attract massive hordes of supporters. Promising to expel foreigners and to restore unity and equality by taking power back from the global elites, while utterly denying the climate science that calls ordinary means of subsistence and consumption radically into question, Trumpism can be seen as an antidote to the toxic combination of global markets and global warming. The irony, of course, is that Trumpism only responds to these dangers by doubling down on the reckless expansionist logic that gave rise to them in the first place.This book, composed entirely between November 8, 2016 and January 20, 2017, examines Trumpism according to its regime of political representation (despotism), its political ontology (nativism), and its political ecology (geocide), while laying the groundwork for an alternative politics and a resistant, responsive ecology of the incompossible. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aecocide =653 \\$apolitical ecology =653 \\$ageophilosophy =653 \\$aecology =653 \\$aantropocene =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0170.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0170.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04646nam 22005532 4500 =001 875a78d7-fad2-4c22-bb04-35e0456b6efa =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024947276 =020 \\$z9781685711207$q(Paperback) =020 \\$a9781685711214$q(PDF) =024 7\$a10.53288/0364.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFK$2bicssc =072 7$aJFSK$2bicssc =072 7$aJFD$2bicssc =072 7$aSOC010000$2bisacsh =072 7$aSOC017000$2bisacsh =072 7$aJBSF11$2thema =072 7$aJBSF3$2thema =072 7$aJBSJ$2thema =072 7$aJBCT1$2thema =100 1\$aCowan, T.L.,$eauthor.$uUniversity of Toronto.$0(orcid)000000030713491X$1https://orcid.org/0000-0003-0713-491X =245 10$aHeavy Processing /$cT.L. Cowan, Jas Rault. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (256 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat happens when we take the joke of “lesbian processing” seriously as a research method? Heavy Processing does just this, by tracing the multi-directional genealogies and vast affinities of processing-heavy methods as innovations in information technologies (operating systems, central processing units, network designs). Part methods handbook, manifesto, and survival guide, this book opens up the fields of information studies, data studies, digital media studies, and digital humanities to critical digital methods, information technologies, and infrastructures: trans- feminist and queer (TFQ) cultural protocols and ways of working.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials. They write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals; for anyone interested in digital media and feminist, queer, and transcultural studies; and for anyone who has ever been studied.Cowan and Rault offer heavy processing as a maximalist research method, consistent with a long and proud lesbian-leaning TFQ tradition of making a mountain out of a molehill. Heavy Processing draws together activist, artistic, and scholarly work that is both about and not about digital materials to critically reorient digital research methods calibrated for accountability, relationship-building, and trust as measures of scholarly rigor. A raging romp of a methods manual, Cowan and Rault offer an alternative to mass digitization in the form of TFQ processing for analog and born digital materials; they write for students, faculty, and researchers, as well as for information, cultural heritage, and tech-sector professionals, for anyone interested in digital media and feminist, queer, and transcultural studies, and for anyone who has ever been studied. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adigital media studies =653 \\$afeminist research methods =653 \\$aqueer studies =653 \\$agender studies =653 \\$atrans studies =653 \\$acritical digital methods =653 \\$anetworked intimate publics =700 1\$aRault, Jas,$eauthor.$uUniversity of Toronto.$0(orcid)0000000297864037$1https://orcid.org/0000-0002-9786-4037 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0364.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0364.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03582nam 22005172 4500 =001 f8b57164-89e6-48b1-bd70-9d360b53a453 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021940246 =020 \\$z9781953035646$q(Paperback) =020 \\$a9781953035653$q(PDF) =024 7\$a10.53288/0352.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aACXJ5$2bicssc =072 7$aART008000$2bisacsh =072 7$aPOE023030$2bisacsh =072 7$aDCF$2thema =072 7$a6CK$2thema =100 1\$aDworkin, Craig,$eauthor.$uUniversity of Utah. =245 10$aHelicography /$cCraig Dworkin. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (224 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPart art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies.Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet.The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west. =536 \\$aUniversity of Utah =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ascale =653 \\$aRobert Smithson =653 \\$aAlfred Jarry =653 \\$apataphysics =653 \\$aSpiral Jetty =653 \\$aland art =653 \\$aconceptual art =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0352.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0352.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02461nam 22004212 4500 =001 417ecc06-51a4-4660-959b-482763864559 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615758282$q(Paperback) =024 7\$a10.21983/P3.0027.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFCA$2bicssc =072 7$aMUS019000$2bisacsh =100 1\$aIshmael, Amelia,$eauthor. =245 10$aHelvete 1 :$bIncipit /$cAmelia Ishmael, Zareen Price, Aspasia Stephanou, Ben Woodard. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (134 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNot to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ablack metal =653 \\$acultural studies =653 \\$amusic theory =700 1\$aPrice, Zareen,$eauthor. =700 1\$aStephanou, Aspasia,$eauthor. =700 1\$aWoodard, Ben,$eauthor.$uWestern University.$0(orcid)0000000160175193$1https://orcid.org/0000-0001-6017-5193 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0027.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0027.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03451nam 22004092 4500 =001 3cc0269d-7170-4981-8ac7-5b01e7b9e080 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692361436$q(Paperback) =024 7\$a10.21983/P3.0102.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFCA$2bicssc =072 7$aMUS019000$2bisacsh =245 00$aHelvete 2 :$bWith Head Downwards: Inversions in Black Metal /$cedited by Niall Scott, Steve Shakespeare. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (113 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNot to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Issue 2 focuses on the theme of Inversions in Black Metal. Nailed at the heart of many a logo, suspended from the neck, held out in Satanic blessing: the inverted cross is one of black metal’s anti-icons. The antithesis of a revelation of light, it signifies an originary blasphemy. Forsaking ascension and mining a path towards the centre of the earth, black metal finds a satanic stain lodged at the core of being. However, the significance of this movement is not bound by a simple reversal. The inverted cross hangs above a swarming logic of inversion: the overturning of Christianity, but also a mimesis of Christian self-desecration; the rejection of certain forms of religion, but also of modernity’s pallid enlightenment; the invocation of strange gods of the earth, even as the earth is cursed. When thought becomes poison, it is no longer so easy to determine which way is up and which way is down. To throw down one’s head, to push oneself into the cursed earth, to occupy the place of the inverted crucified: is this to think-by-not-thinking an unconditioned rapture beyond negation and affirmation? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ablack metal =653 \\$atheory =653 \\$amusic =653 \\$acultural studies =700 1\$aScott, Niall,$eeditor. =700 1\$aShakespeare, Steve,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0102.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0102.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03995nam 22004092 4500 =001 fa4bc310-b7db-458a-8ba9-13347a91c862 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615894294$q(Paperback) =024 7\$a10.21983/P3.0158.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFCA$2bicssc =072 7$aMUS019000$2bisacsh =245 00$aHelvete 3 :$bBleeding Black Noise /$cedited by Amelia Ishmael. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (144 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNot to be confused with metal studies, music criticism, ethnography, or sociology, Helvete: A Journal of Black Metal Theory is a speculative and creative endeavor, one which seeks ways of thinking that count as Black Metal events — and indeed, to see how Black Metal might count as thinking. Theory of Black Metal, and Black Metal of theory. Mutual blackening. Therefore, we eschew any approach that treats theory and Metal discretely, preferring to take the left-hand path by insisting on “some kind of connaturality between the two, a shared capacity for nigredo.”Black Metal Theory is noise. Lacking one clear manifesto or position, it fails to become an elite circle. It is amplified and transmitted electronically: through instruments, lo-fi recordings, internets, and print-on-demand publishers…yet rather than a clear direction of progress we glean only its subversive raw dissonance, disruptions, animalistic screams, resonating disturbances, high-pitched feedback, primitive growls, and its atmospheric statics, hisses, and drones. Black Metal Theory refuses to be hi-fi. It quenches its sonic thirsts from primordial-ditch stews that resemble the dark sludge of recently melted snowfall — pristine white flakes transmuted into a tumultuously sexy and delicious mixture of trash and dirt and ash and poison that swirls and splashes in ditches before seeping into the underground. Our ears drink this disharmonious black bile and our bodies suspend in its intoxicating formless complexities.The third issue of Helvete, “Bleeding Black Noise,” features artwork and essays that focus on the sonic aspects of Black Metal, specifically its interactions with Noise — the interruptions, creations, and destructions of signals. “Bleeding Black Noise” is a revision of Steven Parrino’s statement, “My relation between Rock and visual art: I will bleed for you.” In this issue, Rock is replaced with Noise, and Bleeding is celebrated as a release of the Black Noise — raw energy and formless potential. The essays and art portfolios included here experiment with sonic and conceptual feedback, as well as the way that black noise works through feedback as a process, resonating as background hums or drones, and cascading in foregrounded screams. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ablack metal =653 \\$amusicology =653 \\$ametal theory =653 \\$anoise studies =653 \\$acultural theory =700 1\$aIshmael, Amelia,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0158.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0158.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04887nam 22005892 4500 =001 7f72c34d-4515-42eb-a32e-38fe74217b70 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019944342 =020 \\$z9781950192359$q(Paperback) =020 \\$a9781950192366$q(PDF) =024 7\$a10.21983/P3.0258.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$aita =072 7$aDNF$2bicssc =072 7$aHPJ$2bicssc =072 7$aPOE005030$2bisacsh =072 7$aDNL$2thema =072 7$aQDTJ$2thema =100 1\$aAntomarini, Brunella,$eauthor.$uJohn Cabot University.$0(orcid)0000000216141997$1https://orcid.org/0000-0002-1614-1997 =245 10$aHephaestus Reloaded: Composed for Ten Hands / Efesto Reloaded: Composizioni per 10 mani /$cBrunella Antomarini, Adam Berg, Vladimir D’Amora, Alessandro De Francesco, Miltos Maneta; translated by Andreas Burckhardt, Patrick Camiller, Pietro Traversa. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (118 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aHephaestus Reloaded / Efesto Reloaded, presented in a bilingual (English/Italian) publication, and whose five authors are from Greece, Italy, and the US, invokes as its first inspiration the myth of Hephaestus who embodied a twofold entity: both disabled and technically capacious. The myth of Hephaestus has been passed across the centuries as an ancient metaphor signifying the idea of becoming-world, in which any distinction between the natural and the artificial, or the organic and the technical, is blurred. Human beings, by virtue of their physical vulnerabilities and limits, have enhanced their technological powers to the point of transcending their own given nature. At present, a variety of critical discourses in disciplines such as philosophy, history, aesthetics, and cognitive sciences pay attention to our becoming-hybrid (organic and mechanical beings) – unleashing a space for research that probes the concept of transcendence. Each of the contributions in this book addresses – through its own peculiar perspective, method and experimental style – a new way to approach the role of transcendence in socio-cultural life.In the Occidental history of ideas, the notion of transcendence has received at least three canonical articulations that are challenged by this book: religious (Judeo-Christian traditions), philosophical (Platonic-intellectual universality of ideas), and scientific (the objective and technological turn of knowledge). Nonetheless, it is with the rise of cybernetics, with its digital and virtual modalities of systems, networks, and knowledge, that our human environment emerges as a source of knowledge in itself -- not simply as an object but rather as an immersive agency in which nature, knowledge, technique merge. The transcendence of the actual and the virtual into a “third” element is construed and analyzed in this book through conceptual schemes that rely on a post-binary or non-binary understanding of coincidences, triangulations, hybrids, or post-human combinatorics. What is ultimately explored is how transcendence is ejected from strictly theological, philosophical, or scientific groundings and emerges as a germinating point of becoming (something else). =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$atechnology =653 \\$aposthumanism =653 \\$apoetry =653 \\$acybernetics =653 \\$aaesthetics =653 \\$atranscendence =653 \\$abecoming =700 1\$aBerg, Adam,$eauthor.$uOtis College of Art and Design. =700 1\$aD’Amora, Vladimir,$eauthor. =700 1\$aDe Francesco, Alessandro,$eauthor.$uEuropean Graduate School.$0(orcid)0000000316223682$1https://orcid.org/0000-0003-1622-3682 =700 1\$aManeta, Miltos,$eauthor. =700 1\$aBurckhardt, Andreas,$etranslator. =700 1\$aCamiller, Patrick,$etranslator. =700 1\$aTraversa, Pietro,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0258.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0258.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02140nam 22004092 4500 =001 c2c22cdf-b9d5-406d-9127-45cea8e741b1 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709156$q(Paperback) =024 7\$a10.21983/P3.0218.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDB$2bicssc =072 7$aDRA006000$2bisacsh =100 0\$aEuripides,$eauthor. =245 10$aHippolytus /$cEuripides; edited by Sean Gurd. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (168 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEuripides wrote two plays called Hippolytus. In this, the second, he dramatized the tragic failure of perfection. This translation comes in two forms; the first presents a simulacrum of the text as it might have appeared in unprocessed form to a reader sometime shortly after Euripides’ death. The second processes the drama into the reduced but much more distinct form of modern print translations. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aclassical literature =653 \\$atragedy =653 \\$aEuripides =653 \\$aexperimental translation =700 1\$aGurd, Sean,$eeditor.$uUniversity of Missouri. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0218.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0218.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03095nam 22003732 4500 =001 b63ffeb5-7906-4c74-8ec2-68cbe87f593c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789522644268$q(Paperback) =024 7\$a10.21983/P3.0116.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aART006000$2bisacsh =245 00$aHistory According to Cattle /$cedited by Laura Gustafsson, Terike Haapoja. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (160 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aHistory According to Cattle is an expanded account of the acclaimed art and research project History of Other’s first major installment, The Museum of the History of Cattle (2013). The exhibition presents a large-scale ethnographic museum of world history as seen from the perspective of cattle, one of the most important companion species of humans. Thus, The Museum of the History of Cattle is the first museum to exhibit the cultural history of a non-human species. In the exhibit, the connections of animal rights issues with violations of human rights become visible while the situations of indigenous cattle populations, the development of genetics, and industrialization are imagined through the eyes of this silent, ever present companion. Both tragic and humorous, The Museum of the History of Cattle portrays humans as a species mesmerized by its own image.The book-catalog includes a full presentation of the research and visual material of the exhibition, with contextualizing essays by art historian Anne Aurasmaa, philosopher Elisa Aaltola, theorist Kirs Forkasiewizc, and researcher-curator Radhika Subramaniam. Drawing from critical animal studies, animal philosophy, art theory and the lived companionship of humans and cattle, the publication provides a fresh insight into the possibilities of creative imagination, and into the ethical encountering of the species-other in our society. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aexhibition catalog =700 1\$aGustafsson, Laura,$eeditor. =700 1\$aHaapoja, Terike,$eeditor.$uParsons School of Design. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0116.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0116.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02834nam 22004692 4500 =001 0ff404f8-cd4a-43d8-a4f7-fd5843674e00 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692715161$q(Paperback) =024 7\$a10.53288/0459.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPFQ$2bicssc =072 7$a1KBB$2bicssc =072 7$aPOL042030$2bisacsh =072 7$aPOL040000$2bisacsh =072 7$aJPFQ$2thema =072 7$a1KBB$2thema =100 1\$aSchwendinger, Herman,$eauthor.$uUniversity of California, Berkeley. =245 10$aHomeland Fascism :$bCorporatist Government in the New American Century /$cHerman Schwendinger, Julia Schwendinger; introduction by Jeff Shantz. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (725 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a"It can't happen here."This has been the prevailing sentiment about the possible emergence of fascism in the United States since the rise of international fascism in the 1930s.Yet there are signs that it may already be happening, and at the highest levels of government...In their copiously researched and documented work the Schwendingers outline the structural transformations, policies, and practices that raise the prospect of fascist governance in the 21st Century US. They show that a homeland fascism has significant supports within the framework of American liberal democracy. This is an important analysis in a context in which concerns about fascist demagoguery and far right mobilization appear to be growing in the US and beyond. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). For more detailed information consult the publisher's website.$uhttp://creativecommons.org/licenses/by-nc-nd/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afascism =653 \\$aUnited States =653 \\$acorporatism =653 \\$aliberal democracy =700 1\$aSchwendinger, Julia,$eauthor.$uUniversity of California, Berkeley. =700 1\$aShantz, Jeff,$eintroduction by.$uKwantlen Polytechnic University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0459.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0459.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04169nam 22003972 4500 =001 4f46d026-49c6-4319-b79a-a6f70d412b5c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692606247$q(Paperback) =024 7\$a10.21983/P3.0124.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aSOC012000$2bisacsh =100 1\$aKemp, Jonathan,$eauthor.$uBirkbeck, University of London. =245 10$aHomotopia? :$bGay Identity, Sameness & the Politics of Desire /$cJonathan Kemp. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (154 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDo opposites attract? Is desire lack? These assumptions have become so much a part of the ways in which we conceive desire that they are rarely questioned. Yet, what do they say about how homosexuality — a desire for the same — is viewed in our culture? This book takes as its starting point the absence of a suitable theory of homosexual desire, a theory not predicated on such heterological assumptions. It is an investigation into how such assumptions acquired meaning within homosexual discourse, and as such is offered as an interruption within the hegemony of desire. As such, homosexual desire constitutes the biggest challenge to Western binaric thinking in that it dissolves the sacred distinctions between Same/Other, Desire/Identification, subject/object, male/female.Homotopia? (composed in 1997 but not published until now) investigates the development of a homosexual discourse at the end of the nineteenth century and the beginning of the twentieth century, and reveals how that discourse worked within heterosexualized models of desire. Andre Gide’s Corydon, Edward Carpenter’s The Intermediate Sex, and John Addington Symond’s A Problem in Modern Ethics are all pseudo-scientific texts written by non-medical men of letters, and were, in their time, highly influential on the emerging homosexual discourse. The fourth text, the twenty-odd pages of Marcel Proust’s novel A la recherché de temps perdu usually referred to as ‘La Race maudite,’ is the most problematic, in that it appeared under the guise of fiction. But Proust originally planned this ‘essay-within-a-novel’ to be published separately. In it, he offers a pseudo-scientific theory of male-male love. These four texts were published between the years 1891 and 1924, an historical moment when the concept of a distinct homosexual identity took shape within a medicalized discourse centered on essential identity traits and characteristics, and they all work within the rubric of science, contributing to a discourse which saw the human race divided into two distinct categories: heterosexuals and homosexuals. How did this division come about, and what were its effects? How was this discourse sustained, and how were the meanings it produced received? For men whose erotic interest was exclusively in other men, what did it mean to see oneself and one’s desires as the outcome of biology rather than moral lapse? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$agay literature =653 \\$agender studies =653 \\$aqueer studies =653 \\$ahistory of homosexuality =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0124.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0124.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03018nam 22004932 4500 =001 ceffc30d-1d28-48c3-acee-e6a2dc38ff37 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019944175 =020 \\$z9781950192311$q(Paperback) =020 \\$a9781950192328$q(PDF) =024 7\$a10.21983/P3.0259.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSB$2bicssc =072 7$aLIT011000$2bisacsh =072 7$aDSB$2thema =072 7$aJNM$2thema =245 00$aHow We Read :$bTales, Fury, Nothing, Sound /$cedited by Kaitlin Heller, Suzanne Conklin Akbari. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (186 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat do we do when we read?Reading can be an act of consumption or an act of creation. Our “work reading” overlaps with our “pleasure reading,” and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form.The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts – which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading’s capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$areading =653 \\$awriting =653 \\$alibraries =653 \\$apoetics =653 \\$amemory =653 \\$auniversity life =653 \\$aliterary studies =700 1\$aHeller, Kaitlin,$eeditor.$uSyracuse University. =700 1\$aConklin Akbari, Suzanne,$eeditor.$uUniversity of Toronto. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0259.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0259.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02438nam 22003852 4500 =001 63e2f6b6-f324-4bdc-836e-55515ba3cd8f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692519332$q(Paperback) =024 7\$a10.21983/P3.0110.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBH$2bicssc =072 7$aLAN005010$2bisacsh =245 00$aHow We Write :$bThirteen Ways of Looking at a Blank Page /$cedited by Suzanne Conklin Akbari. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (182 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe contributors range from graduate students and recent PhDs to senior scholars working in the fields of medieval studies, art history, English literature, poetics, early modern studies, musicology, and geography. All are engaged in academic writing, but some of the contributors also publish in other genres, includes poetry and fiction. Several contributors maintain a very active online presence, including blogs and websites; all are committed to strengthening the bonds of community, both in person and online, which helps to explain the effervescent sense of collegiality that pervades the volume, creating linkages across essays and extending outward into the wide world of writers and readers. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aacademic writing =653 \\$auniversity studies =653 \\$aliterary studies =700 1\$aConklin Akbari, Suzanne,$eeditor.$uUniversity of Toronto. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0110.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0110.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03588nam 22003852 4500 =001 b0257269-5ca3-40b3-b4e1-90f66baddb88 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692650141$q(Paperback) =024 7\$a10.21983/P3.0132.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =072 7$aFIC016000$2bisacsh =100 1\$aPettman, Dominic,$eauthor.$uNew School. =245 10$aHumid, All Too Humid :$bOverheated Observations /$cDominic Pettman. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (182 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aI haven’t made a single mistake in my life. I’ve just made a lot of good decisions that went really badly.Try as we might, we simply can’t imagine what our world would now look like, had our forefathers decided to use asparagus instead of electricity.In Humid, All Too Humid, social commentator Dominic Pettman curates the overheated thoughts of his own feverish mind, in response to a world struggling with unprecedented levels of cultural climate change.Humanity is like that obnoxious bore that arrives at the party drunk — thinks he’s witty and charming and wise, but is in fact a complete psychotic loser. All the other creatures, however, are too polite to say anything. So they just watch us quietly, and hope that we disappear as quickly as we came.The book takes the form of aphorism, witticism, maxim, axiom, dictum, quip, jape, adage, proverb, pun, precept, reflection, suggestion, observation, paraphrase, bon mot, vagary, specificky, put-on, put-off, mummery, miscellany, aside, in-front, behind, knock-knock joke, one-liner, tweet, re-tweet, truism, and not-so-truism.When you think about it, how rude it is for people to get married in public. This whole ritual is set up so that one person can say they love this one other person more than you. More than anyone else in the room. Is this why people really cry at weddings? Is this why we cover their car with rubbish? A sublimated response to their ceremonial insult?Known for his scholarly work on love, sex, and the (post)human condition, Pettman now assembles this collection of humoristic micro-meditations on everything from the meaning of life to the “yoghurt of human unkindness.”Archaeologists in Turkey have uncovered a new fragment of Anaximander, which simply reads: “Because reasons.”Humid, All Too Humid reads as if Oscar Wilde had first written Minima Moralia, after binge-watching too many episodes of The Simpsons. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acultural studies =653 \\$ahumor =653 \\$aaphorism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0132.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0132.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02689nam 22003732 4500 =001 b950d243-7cfc-4aee-b908-d1776be327df =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780988234079$q(Paperback) =024 7\$a10.21983/P3.0106.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aART006000$2bisacsh =100 1\$aLafia, Marc,$eauthor. =245 10$aImage Photograph /$cMarc Lafia. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (310 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWe no longer live in the society of the spectacle, passively seeing the world. Now we perform our very own spectacle in a society that demands it at every turn. We’ve become advertisements of ourselves, our own PR agents, continually putting on a performance and measuring it hour by hour. This is no longer the society of the spectacle but the society of performance. All events have become a pretense to create the image, to orchestrate an image of images that is us. We believe the image confers on us a kind of immortality: just as the artist believes her works collected by a major museum will do the same, we believe the network will forever host the archive we build everyday. The image that is us lives in the circulation of the network. Though a file, though virtual and malleable, made out of bits and instantly accessible to anyone who wants to find it around the world, this image that lives only lives on screen, as virtual as it might be, is a material fact. In its impression, its reception, its archivability, its remixability, the electronic image is today’s photograph =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aexhibition catalog =653 \\$aphotography =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0106.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0106.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02942nam 22004932 4500 =001 241f9c62-26be-4d0f-864b-ad4b243a03c3 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019953098 =020 \\$z9781950192533$q(Paperback) =020 \\$a9781950192540$q(PDF) =024 7\$a10.21983/P3.0268.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$a5SG$2bicssc =072 7$aSOC012000$2bisacsh =072 7$aJBSJ$2thema =072 7$a5PSG$2thema =100 1\$aPhrydas, JH,$eauthor.$0(orcid)0000000216952255$1https://orcid.org/0000-0002-1695-2255 =245 10$aImperial Physique /$cJH Phrydas. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (158 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 2008, JH Phrydas wrote a story about how bodies talk without words. He wanted the story to not just describe the silent ritual of nonverbal communication but to perform it. The interaction would be visceral – the exchange melancholic, yet full of lust. He wanted words to retain the unsayable: the subtle movements of a body in heat. In the years since, Phrydas kept rewriting this story, using different techniques, different syntaxes and forms, in hopes that he would find a successful method of gestural writing.Imperial Physique is a collection of these attempts. They explore the way our bodies hover between animal and human, civil and wild. The bleakness – and underlying verve – of imagining Western empires in decline serve as a backdrop for a lone figure searching city streets, decaying architecture, and sand dunes for some type of physical connection. What arises is the loss of – and longing for – touch at the edges of imperialism, historical violence, and personal shame. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aqueer studies =653 \\$aLGBT studies =653 \\$acruising =653 \\$awriting =653 \\$adesire =653 \\$asexuality =653 \\$atheory fiction =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0268.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0268.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02863nam 22004092 4500 =001 14a2356a-4767-4136-b44a-684a28dc87a6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692321287$q(Paperback) =024 7\$a10.21983/P3.0081.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aACC$2bicssc =072 7$aART015050$2bisacsh =100 1\$aSkoblow, Jeffrey,$eauthor.$uSouthern Illinois University Edwardsville. =245 10$aIn a Trance :$bOn Paleo Art /$cJeffrey Skoblow. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (156 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn a Trance is just the sort of genre-defying work we at Peanut and punctum and, as it happens, Jeffrey Skoblow, revel in. It is a book-length essay by a fiction writer. It is a fictional essay by a literary scholar. It is a gallant assay by a smart man who thinks while he walks, and he walks a lot.The book is a meta-meditation on Paleolithic cave drawings and the humans who ponder them. It is fact-based and entrancing just as the cave drawings are actual (existing in time — loosely — and space — more definitively) and mesmerizing. Skoblow is devising stories as “we” (humans) have always devised stories though in a less familiar mode, along a less travelled path.The essay draws on (!) the careful/thoughtful/whimsical notebooks kept by Skoblow over a dozen years. The notebooks record/illuminate/complicate his visits to twelve Paleolithic art sites as well as his deep, eccentric reading of texts concerned in some way with the subject of cave drawings by an array of scientists, anthropologists, archeologists, art historians, and other sundry enthusiasts and experts, so-called and otherwise. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apaleolithic art =653 \\$acave paintings =653 \\$aposthumanism =653 \\$aart history =653 \\$acultural studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0081.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0081.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03469nam 22005292 4500 =001 aeed0683-e022-42d0-a954-f9f36afc4bbf =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020936447 =020 \\$z9781950192830$q(Paperback) =020 \\$a9781950192847$q(PDF) =024 7\$a10.21983/P3.0286.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a1DBR$2bicssc =072 7$aKCL$2bicssc =072 7$aDSA$2bicssc =072 7$aLIT014000$2bisacsh =072 7$aLIT004120$2bisacsh =072 7$a1DDR$2thema =072 7$aKCL$2thema =072 7$aDSA$2thema =100 1\$aKiely, Robert,$eauthor.$uUniversity of Surrey. =245 10$aIncomparable Poetry :$bAn Essay on the Financial Crisis of 2007–2008 and Irish Literature /$cRobert Kiely. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (162 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIncomparable Poetry: An Essay on the Financial Crisis of 2007-2008 and Irish Literature is an attempt to describe the ways in which the financial crisis of 2007-8 impacted literature in Ireland, and thereby describe the ways in which poetry engages with, is structured by, and wrestles with economic issues.Ireland and its contemporary poetry is a particularly suitable case study for studying the effect of the economic crisis on Anglophone poetry, because poetry in Ireland has a special relationship to the state and economy due to its status as a postcolonial nation-state. Beginning with a summary of recent Irish economic and cultural history, and moving across experimental and mainstream poetry, this essay outlines how the poetry of Trevor Joyce, Leontia Flynn, Dave Lordan, and Rachel Warriner addresses in its form and content the boom years of the Celtic Tiger and the financial crisis.Incomparable Poetry also discusses the concerns and historical contexts these poets have turned to in order to make sense of these events – including Chinese history, accountancy, sexual violence, and Iceland’s economic history. In contemporary Irish poetry, the author argues, we see a significant interest in matching capitalism’s accounting abilities, but in this attempt, these poems often end up broken by the imposition of an external conceptual framework or economic logic. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acapitalism =653 \\$aChinese history =653 \\$aIreland =653 \\$afinancial crisis =653 \\$aliterary studies =653 \\$apoetry =653 \\$aIrish literature =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0286.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0286.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04147nam 22005532 4500 =001 7fd1f5fd-1006-4b40-9e4c-1de386a7c813 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024932061 =020 \\$z9781685711443$q(Paperback) =020 \\$a9781685711450$q(PDF) =024 7\$a10.53288/0458.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hita =072 7$aAVGC9$2bicssc =072 7$aDSB$2bicssc =072 7$aJFFK$2bicssc =072 7$aLIT003000$2bisacsh =072 7$aMUS028000$2bisacsh =072 7$aAVLF$2thema =072 7$aDSB$2thema =072 7$aJBSF11$2thema =100 1\$aPasserini, Luisa,$eauthor.$uEuropean University Institute. =245 10$aIn Defense of Don Giovanni :$bA Feminist Mythobiography /$cLuisa Passerini; translated by Stella Tillyard. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (300 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWho wants to champion the figure of Don Giovanni in the time of Harvey Weinstein and #MeToo? Don Giovanni is a rapist, murderer, serial seducer, and liar. Can he ever be held up as a role model or seen as a figure to be enjoyed? This is the task that the eminent Italian historian and lifelong feminist, Luisa Passerini, sets for herself in In Defense of Don Giovanni. As she developed the long arc of her distinguished career, Don Giovanni surprisingly became not only her role model but also a secret object of research.Taking her method from oral history, Passerini creates a series of characters with whom she discusses the forms and incarnations of the myth of Don Giovanni across time, from its first appearance in early medieval Spain and Commedia dell’Arte to its many European variations and its transposition to the colonial and postcolonial world in the Middle East, the Americas, and Africa. Pivoting round Don Giovanni’s best known incarnation in Mozart’s opera, Passerini and her interlocutors meet in different locations from Venice and Bern to Paris and Turin. They discuss plays, films, and operas and talk about art, novels, and psychoanalytic interpretations of the myth while also sharing their own life stories, in which Don Giovanni often plays a part that is, by turns, destructive, mischievous, and full of the joy of life.From his early beginnings in the Iberian Peninsula to recent analysis of the sexuality of colonial conquest and postcolonial revenge and return, Don Giovanni shape-shifts between rapacious hypermasculinity, comic trickster, and morally vacuous loser whose annoyingly persistent nemesis Don Ottavio emerges as an alternative and ultimately better object of desire. As she tracks Don Giovanni’s image across the world and through the centuries, however, Passerini comes to see that it also plays another role, that of a mirror, in which women can see themselves emerge as individuals with their own life force. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aDon Giovanni =653 \\$aopera =653 \\$amythobiography =653 \\$aliterary studies =653 \\$aautotheory =653 \\$afeminism =653 \\$aPaul Klee =700 1\$aTillyard, Stella,$etranslator.$uBirkbeck, University of London. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0458.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0458.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03281nam 22004092 4500 =001 f5217945-8c2c-4e65-a5dd-3dbff208dfb7 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615853192$q(Paperback) =024 7\$a10.21983/P3.0044.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC009060$2bisacsh =100 1\$aPettman, Dominic,$eauthor.$uNew School. =245 10$aIn Divisible Cities :$bA Phanto-Cartographical Missive /$cDominic Pettman. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (168 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Divisible Cities takes Italo Calvino’s classic re-imagining of Venice, viewed in the mind’s eye from many different metaphysical angles, and projects it on to the world at large. Where the Italian saw his favorite city as an impossible metropolis of many moods, shades, and ways of being, this unauthorized sequel unpacks the Escheresque streets in unexpected directions. In Divisible Cities is thus an exercise in cartographic origami: the reflective and poetic result of the narrator’s desire to map hidden cities, secret cities, imaginary cities, impossible cities, and overlapping cities, existing beneath the familiar Atlas of everyday perception. Stitching these different places and spaces together is a “double helix” or “Siamese seduction” between the traveler and his romantic shadow, revealing — step by step — a clandestine itinerary of hidden affinities, nestled within the habitual rhythm of things.Matter matters. That’s what the drone of the city tells us.And yet we dream of something beyond these invisible walls.Were I an architect-deity, I would create an Escheresque subway system, linking all the cities in the world. The tunnels themselves, and the people decanted from one place to the other, would eventually create an Ecumenopolis: a single and continuous city, enlaced and endless. Were this the case I could get on the F train at Delancey Street, Manhattan, and — after a couple of changes mid-town — emerge in the night-markets of Taipei, or near the Roman baths of Budapest. Or perhaps even downtown Urville. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aimaginary geography =653 \\$afiction =653 \\$atravel =653 \\$alove =653 \\$amaps =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0044.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0044.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03550nam 22005172 4500 =001 af1d6a61-66bd-47fd-a8c5-20e433f7076b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021942770 =020 \\$z9781953035745$q(Paperback) =020 \\$a9781953035752$q(PDF) =024 7\$a10.53288/0336.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAFKP$2bicssc =072 7$aABA$2bicssc =072 7$aART010000$2bisacsh =072 7$aART009000$2bisacsh =072 7$aAFF$2thema =072 7$aABA$2thema =072 7$aAFKP$2thema =100 1\$aKnight, Linda,$eauthor.$uRMIT University.$0(orcid)0000000340639071$1https://orcid.org/0000-0003-4063-9071 =245 10$aInefficient Mapping :$bA Protocol for Attuning to Phenomena /$cLinda Knight. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (250 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWorking from a speculative, more-than-human ontological position, Inefficient Mapping: A Protocol for Attuning to Phenomena presents a new, experimental cartographic practice and non-representational methodological protocol that attunes to the subaltern genealogies of sites and places, proposing a wayfaring practice for traversing the land founded on an ethics of care. As a methodological protocol, inefficient mapping inscribes the histories and politics of a place by gesturally marking affective and relational imprints of colonisation, industrialisation, appropriation, histories, futures, exclusions, privileges, neglect, survival, and persistence.Inefficient Mapping details a research experiment and is designed to be taken out on mapping expeditions to be referred to, consulted with, and experimented with by those who are familiar or new to mapping. The inefficient mapping protocol described in this book is informed by feminist speculative and immanent theories, including posthuman theories, critical-cultural theories, Indigenous and critical place inquiry, as well as the works of Karen Barad, Erin Manning, Jane Bennett, Maria Puig de la Bellacassa, Elizabeth Povinelli, and Eve Tuck and Marcia McKenzie, which frame how inefficient mapping attunes to the matter, tenses, and ontologies of phenomena and how the interweaving agglomerations of theory, critique, and practice can remain embedded in experimental methodologies. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aethical wayfinding =653 \\$aexperimental methodologies =653 \\$acartography =653 \\$anon-representational methods =653 \\$ainfographics =653 \\$achaosgraphs =653 \\$aart practice =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0336.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0336.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02700nam 22004092 4500 =001 37cb9bb4-0bb3-4bd3-86ea-d8dfb60c9cd8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692299302$q(Paperback) =024 7\$a10.21983/P3.0078.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aNAT010000$2bisacsh =245 00$aInhuman Nature /$cedited by Jeffrey Jerome Cohen. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (166 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aGathering into lively conversation scholars in medieval, early modern and object studies, Inhuman Nature explores the activity of the things, forces, and relations that enable, sustain and operate indifferently to us. Enamored by fictions of environmental sovereignty, we too often imagine “human” to be a solitary category of being. This collection of essays maps the heterogeneous and asymmetrical ecologies within which we are enmeshed, a material world that makes the human possible but also offers difficulties and resistance. Among the topics explored are the futurity that inheres in storms and wrecks, wood that resists its burning or offers art and dwelling, hymns that implant themselves like viruses, the ontology of everyday objects, the seep and flow of substance, the resistant nature of matter, the dependence of community upon making things public, and the interstices at which nature and culture become inseparable.Tinker as you will. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aecology =653 \\$acultural studies =653 \\$apost-humanism =653 \\$apremodern studies =653 \\$anew materialisms =700 1\$aCohen, Jeffrey Jerome,$eeditor.$uGeorge Washington University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0078.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0078.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03131nam 22004332 4500 =001 5ec826f5-18ab-498c-8b66-bd288618df15 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018940293 =020 \\$z9781947447424$q(Paperback) =020 \\$a9781947447431$q(PDF) =024 7\$a10.21983/P3.0200.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPWJ$2bicssc =072 7$aPOL042010$2bisacsh =100 1\$aShantz, Jeff,$eauthor.$uKwantlen Polytechnic University. =245 10$aInsurrectionary Infrastructures /$cJeff Shantz. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (108 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOpponents of states and capital must be prepared to defend ourselves. To understand the nature of the state is to know that it will attack to kill when and where it feels a threat to its authority and power. But the struggles against exploitation, oppression, and repression must also move to the offensive.With the emboldening of reactionary forces on the far Right, there has been a renewed focus on issues of community self-defense, not only against the violence of the state but against organized fascists and Right-wing vigilantes alike. There has also been a developing seriousness, particularly among anarchist and antifascist, or antifa, activists.The goal of all anarchism is not to eliminate violence in social struggle (a futile and impossible pursuit given the nature of the state), but to limit the amount, degree, and extent of violence and harm inflicted by state agents, and their vigilante supporters, on the poor, oppressed, and exploited. And this is part of the emphasis on insurrectionary infrastructures. Non-material (emotional) and material resources and spaces are necessary to defend communities and workplaces under attack, but also to organize possible, and necessary, offensives.Insurrectionary Infrastructures reflects on strategies and tactics of rebellion and resistance and offers suggestions for fighting to win =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanarchism =653 \\$aantifascism =653 \\$aactivism =653 \\$apolitics =653 \\$arebellion =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0200.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0200.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02639nam 22004092 4500 =001 89990379-94c2-4590-9037-cbd5052694a4 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615612034$q(Paperback) =024 7\$a10.21983/P3.0005.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFD$2bicssc =072 7$aPOL016000$2bisacsh =100 0\$adj readies,$eauthor.$uUniversity of Maryland, Baltimore County. =245 10$aIntimate Bureaucracies /$cdj readies. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (60 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIntimate Bureaucracies is a history from the future looking backward at our present moment as a turning point. Our systems of organization and control appear unsustainable and brutal, and we are feeling around in the dark for alternatives. Using experiments in social organization in downtown New York City, and other models of potential alternative social organizations, this manifesto makes a call to action to study and build socio poetic systems.One alternative system, the Occupy movement, has demands and goals beyond the specific historical moment and concerns. This short book/manifesto suggests that the organization and communication systems of Occupying encampments represent important necessities, models, goals, and demands, as well as an intimate bureaucracy that is a paradoxical mix of artisanal production, mass-distribution techniques, and a belief in the democratizing potential of social media. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aOccupy Movement =653 \\$avisual culture =653 \\$asocial media =653 \\$amedia studies =653 \\$anetworks =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0005.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0005.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03149nam 22004452 4500 =001 9e11adff-abed-4b5d-adef-b0c4466231e8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615686875$q(Paperback) =024 7\$a10.21983/P3.0015.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSJ$2bicssc =072 7$aSOC064000$2bisacsh =072 7$aSOC032000$2bisacsh =072 7$aJBSF$2thema =072 7$aJBSJ$2thema =100 1\$aBerlant, Lauren,$eauthor.$uUniversity of Chicago. =245 10$aDesire/Love /$cLauren Berlant. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (142 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a“There is nothing more alienating than having your pleasures disputed by someone with a theory,” writes Lauren Berlant. Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love.In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$alove =653 \\$asexuality =653 \\$apsychoanalysis =653 \\$afantasy =653 \\$adesire =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0015.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0015.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02545nam 22003732 4500 =001 13c12944-701a-41f4-9d85-c753267d564b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692573129$q(Paperback) =024 7\$a10.21983/P3.0118.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE023020$2bisacsh =100 1\$aNechvatal, Joseph,$eauthor. =245 10$aDestroyer of Naivetés /$cJoseph Nechvatal. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (110 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aJoseph Nechvatal’s epic passion poem, Destroyer of Naivetés, takes up a position of excess from within a society that believes that the less you conceal, the stranger you become. We live and love in a culture where surveillance/intrusion is tied to our drive for self-revealing everything (an anti-private-life culture of curiosity, egotism, solitude, fear, voyeurism, exhibitionism and resentment --- where the feeling is that nothing could or should remain unknown to us).The sex farce poetic overindulgence of Destroyer of Naivetés takes inspiration from the books of Jean Genet, Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, drawings by Hans Bellmer, film/performances of Bradley Eros, and the erotic scribblings of Giacomo Casanova, Georges Bataille, Petronius, Vladimir Nabokov, Marquis de Sade, Yukio Mishima, Ovid, Leopold von Sacher-Masoch, Kathy Acker and I Am a Beautiful Monster by Francis Picabia. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aerotic poetry =653 \\$asex farce =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0118.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0118.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02477nam 22004092 4500 =001 69c890c5-d8c5-4295-b5a7-688560929d8b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615837420$q(Paperback) =024 7\$a10.21983/P3.0041.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aKennel, Maxwell,$eauthor.$uUniversity of Waterloo. =245 10$aDialectics Unbound :$bOn the Possibility of Total Writing /$cMaxwell Kennel. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (58 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDialectics Unbound: On the Possibility of Total Writing re-imagines figures of ontological totality, in and out of writing, first by exploring some lineages of the dialectic, and second by engaging thinkers such as Theodor Adorno and his assertion of nonidentity, Julia Kristeva and her positing of a fourth term of the dialectic, and Fredric Jameson’s treatment of the dialectic as an open totality. By articulating a concept of totalization-without-totality, Dialectics Unbound seeks to free the concept of the dialectic from the violence of closure, and then to take this unbound dialectics to the work of writing through a brief examination of parataxis and aphoristics as approaches to writing, both possible and impossible. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adialectics =653 \\$awriting =653 \\$aaesthetics =653 \\$acritical theory =653 \\$aTheodor Adorno =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0041.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0041.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03582nam 22005052 4500 =001 245c521a-5014-4da0-bf2b-35eff9673367 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022934994 =020 \\$z9781685710460$q(Paperback) =020 \\$a9781685710477$q(PDF) =024 7\$a10.53288/0360.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAVA$2bicssc =072 7$aHPN$2bicssc =072 7$aPHI001000$2bisacsh =072 7$aMUS054000$2bisacsh =072 7$aAVA$2thema =072 7$aQDTN$2thema =100 1\$aToksöz Fairbarn, Kevin,$eauthor.$0(orcid)0000000244471192$1https://orcid.org/0000-0002-4447-1192 =245 10$adis/cord :$bThinking Sound through Agential Realism /$cKevin Toksöz Fairbarn. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (146 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$adis/cord is an experiment in reading sound. Embarking from Karen Barad’s early work on agential realism, it diffracts quantum physics through sound art, finding the sympathetic resonances that allow them to speak together. dis/cord believes in the materialism of sound, and strives not to understand it, but to become entangled with it. It asserts that impartial observation is impossible and understands immersion as a participatory and collaborative act. Sound art pieces provide the backdrop for a series of reflections on space, time, and matter. They trace the “marks on bodies” that sound leaves behind in its ephemeral vibration, finding new forms of sensation and interpretation through the pain and hearing loss that a life devoted to sound can cause.Drifting between sound studies, artistic research, musicology, and craftsmanship, dis/cord uses agential realism as a platform to approach thinking with, through, and about sound. Following Barad’s commitment to diffraction as a form of critique, it superposes a variety of sounds and ideas in the hope that their consonances and dissonances can provoke new ways of engaging with sound as a cultural and material agent. It is neither an appeal to scientist positivism nor a mystical immersion in listening. Rather, it builds from the intertwined physical and metaphysical curiosities that characterize Barad’s work, proposing a corporeal engagement with the disjointed temporal and spacial (dis)continuities that sonic materialism helps to build, understand, and create. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$asound studies =653 \\$aKaren Barad =653 \\$anew materialism =653 \\$aagential realism =653 \\$anoise =653 \\$aartistic research =653 \\$aembodiment =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0360.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0360.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04126nam 22005292 4500 =001 488c640d-e742-465a-98b4-1234bb09d038 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020945732 =020 \\$z9781953035103$q(Paperback) =020 \\$a9781953035110$q(PDF) =024 7\$a10.21983/P3.0280.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSB$2bicssc =072 7$aFK$2bicssc =072 7$aHPJ$2bicssc =072 7$aPHI013000$2bisacsh =072 7$aLIT021000$2bisacsh =072 7$aDSB$2thema =072 7$aFK$2thema =072 7$aQDTJ$2thema =245 00$aDiseases of the Head :$bEssays on the Horrors of Speculative Philosophy /$cedited by Matt Rosen. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (522 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDiseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état.Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation – it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aH.P. Lovecraft =653 \\$aspeculative philosophy =653 \\$aobject-oriented ontology =653 \\$anecropolitics =653 \\$aliterary studies =653 \\$aweird realism =653 \\$aposthumanism =700 1\$aRosen, Matt,$eeditor.$uUniversity of Oxford.$0(orcid)0000000222481314$1https://orcid.org/0000-0002-2248-1314 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0280.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0280.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03425nam 22004692 4500 =001 6c30545e-539b-419a-8b96-5f6c475bab9e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9781947447714$q(Paperback) =020 \\$a9781947447721$q(PDF) =024 7\$a10.21983/P3.0230.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aCOM079010$2bisacsh =072 7$aCOM079000$2bisacsh =072 7$aUBJ$2thema =072 7$aNHTQ$2thema =245 00$aDisrupting the Digital Humanities /$cedited by Dorothy Kim, Jesse Stommel. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (514 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAll too often, defining a discipline becomes more an exercise of exclusion than inclusion. Disrupting the Digital Humanities seeks to rethink how we map disciplinary terrain by directly confronting the gatekeeping impulse of many other so-called field-defining collections. What is most beautiful about the work of the Digital Humanities is exactly the fact that it can’t be tidily anthologized. In fact, the desire to neatly define the Digital Humanities (to filter the DH-y from the DH) is a way of excluding the radically diverse work that actually constitutes the field. This collection, then, works to push and prod at the edges of the Digital Humanities — to open the Digital Humanities rather than close it down. Ultimately, it’s exactly the fringes, the outliers, that make the Digital Humanities both heterogeneous and rigorous.This collection does not constitute yet another reservoir for the new Digital Humanities canon. Rather, its aim is less about assembling content as it is about creating new conversations. Building a truly communal space for the digital humanities requires that we all approach that space with a commitment to: 1) creating open and non-hierarchical dialogues; 2) championing non-traditional work that might not otherwise be recognized through conventional scholarly channels; 3) amplifying marginalized voices; 4) advocating for students and learners; and 5) sharing generously and openly to support the work of our peers. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adigital humanities =653 \\$adecolonization =653 \\$asocial justice =653 \\$atechnology =653 \\$acomputing =653 \\$auniversal design =700 1\$aKim, Dorothy,$eeditor.$uBrandeis University. =700 1\$aStommel, Jesse,$eeditor.$uUniversity of Mary Washington. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0230.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0230.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03573nam 22005172 4500 =001 754c1299-9b8d-41ac-a1d6-534f174fa87b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020934654 =020 \\$z9781950192755$q(Paperback) =020 \\$a9781950192762$q(PDF) =024 7\$a10.21983/P3.0313.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHBLC1$2bicssc =072 7$aHBTQ$2bicssc =072 7$aHIS037010$2bisacsh =072 7$aSOC056000$2bisacsh =072 7$aNHDJ$2thema =072 7$aNHHA$2thema =072 7$aNHTQ$2thema =245 00$aDisturbing Times :$bMedieval Pasts, Reimagined Futures /$cedited by Catherine E. Karkov, Anna Kłosowska, Vincent W.J. van Gerven Oei. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (384 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFrom Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aMedieval studies =653 \\$arace =653 \\$aInternational Medieval Congress =653 \\$aracism =653 \\$ahistory =700 1\$aKarkov, Catherine E.,$eeditor.$uUniversity of Leeds. =700 1\$aKłosowska, Anna,$eeditor.$uMiami University. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0313.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0313.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03402nam 22004092 4500 =001 438e0846-b4b9-4c84-9545-d7a6fb13e996 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615839080$q(Paperback) =024 7\$a10.21983/P3.0043.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aREL040060$2bisacsh =100 1\$aHorwitz, Noah,$eauthor.$uSouthern New Hampshire University. =245 10$aDivine Name Verification :$bAn Essay on Anti-Darwinism, Intelligent Design, and the Computational Nature of Reality /$cNoah Horwitz. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (424 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn this book, Noah Horwitz argues that the age of Darwinism is ending. Building on the ontological insights of his first book Reality in the Name of God in order to intervene into the intelligent design versus evolution debate, Horwitz argues in favor of intelligent design by attempting to demonstrate the essentially computational nature of reality. In doing so, Horwitz draws on the work of many of today’s key computational theorists (e.g., Wolfram, Chaitin, Friedkin, Lloyd, Schmidhuber, etc.) and articulates and defends a computational definition of life, and in the process lays out key criticisms of Darwinism. He does so in part by incorporating the insights of the Lamarckian theories of Lynn Margulis and Maximo Sandin. The possible criticisms of a computationalist view from both a developmental perspective (e.g., Lewontin, Jablonka, West-Eberhard, etc.) and chaos theory (e.g., Brian Goodwin) are addressed. In doing so, Horwitz engages critically with the work of intelligent design theorists like William Dembksi. At the same time, he attempts to define the nature of the Speculative Realist turn in contemporary Continental Philosophy and articulates criticisms of leading figures and movements associated with it, such as Object-Oriented Ontology, Quentin Meillassoux, and Ray Brassier. Ultimately, Horwitz attempts to show that rather than heading towards heat death, existence itself will find its own apotheosis at the Omega Point. However, that final glorification is only possible given that all of reality is compressible into the divine name itself. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acontinental philosophy =653 \\$aintelligent design =653 \\$acubernetics =653 \\$aDarwinism =653 \\$abiology =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0043.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0043.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03537nam 22004332 4500 =001 53cd2c70-eab6-45b7-a147-8ef1c87d9ac0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017951817 =020 \\$z9780692374511$q(Paperback) =024 7\$a10.21983/P3.0183.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =100 1\$aedwards, kari,$eauthor. =245 10$adôNrm'-lä-püsl /$ckari edwards; edited by Tina Žigon. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (102 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThere have been many iterations of the Joan of Arc story: “testimonies,” books, and films have attempted to capture the drama of one of history’s most famous gender warriors. But few, if any, have been undertaken by an author who met her subject matter with such recognition and insight, a fellow warrior, a rebel in kind. kari edwards, a transgender activist and key figure in the Bay Area experimental writing scene of the late 1990s and early 2000s, was provocative and prescient in her concern for the way that language inflects, inflicts, and regulates gender norms. Her persistent efforts to break linguistic binaries and barriers have given her texts an ongoing urgency after her untimely death in 2006.This book brings to life an important document discovered in the late poet’s archive at the Poetry Collection at the University of Buffalo. The several notebooks and partial typescript (as well as various plans and notes) of edwards’ unfinished dôNrm’-lä-püsl, uncovered by Tina Žigon, offer an intriguing glimpse of a major new direction in edwards’ work, one in which her avant-garde instincts are channeled through rigorous research on this medieval figure. In this retelling – better to say “remixing” – of Joan of Arc’s fateful trial and martyrdom, we find the major theme so richly laced throughout edwards’ oeuvre: the courageous (but also depressingly mundane) struggle against the stifling regulation of language, appearance, and norms. edwards’s Joan of Arc, even in its incomplete and abbreviated form (which Žigon calls a “possible version” of edwards’s manuscript), offers an exciting engagement with one of the medieval period’s most challenging and mysterious figures. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJoan of Arc =653 \\$atrans studies =653 \\$agender =653 \\$amedieval history =653 \\$apoetry =700 1\$aŽigon, Tina,$eeditor.$uAmerican University of Kuwait. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0183.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0183.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03378nam 22004332 4500 =001 cd037a39-f6b9-462a-a207-5079a000065b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692229149$q(Paperback) =024 7\$a10.21983/P3.0071.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a2HNR$2bicssc =072 7$aLAN009000$2bisacsh =245 00$aDotawo :$bA Journal of Nubian Studies 1 /$cedited by Vincent W.J. van Gerven Oei, Angelika Jakobi, Giovanni Ruffini. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (240 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNubian studies needs a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies.The journal Dotawo: A Journal of Nubian Studies brings these disparate fields together within the same fold, opening a cross-cultural and diachronic field where divergent approaches meet on common soil. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.This first volume of Dotawo is the outcome of a Nubian panel within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22-4, 2013. Organized by Angelika Jakobi, the Nubian panel was attended both by specialists of the modern Nubian languages and scholars working on medieval Nubia and its languages, particularly Old Nubian. We are indebted to the Fritz Thyssen Foundation at Cologne for generously sponsoring the organization of the Nubian panel and the invitation of the participants. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$alinguistics =653 \\$apapyrology =653 \\$aanthropology =653 \\$aarchaeology =653 \\$aNubian studies =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uEuropean Graduate School.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aJakobi, Angelika,$eeditor.$uUniversity of Cologne. =700 1\$aRuffini, Giovanni,$eeditor.$uFairfield University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0071.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0071.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03530nam 22004332 4500 =001 1c39ca0c-0189-44d3-bb2f-9345e2a2b152 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692458433$q(Paperback) =024 7\$a10.21983/P3.0104.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a2HNR$2bicssc =072 7$aLAN009000$2bisacsh =245 00$aDotawo :$bA Journal of Nubian Studies 2 /$cedited by Angelika Jakobi, Giovanni Ruffini, Vincent W.J. van Gerven Oei. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (308 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a multi-disciplinary, diachronic view of all aspects of Nubian civilization. It brings to Nubian studies a new approach to scholarly knowledge: an open-access collaboration with DigitalCommons@Fairfield, an institutional repository of Fairfield University in Connecticut, USA, and open-access publishing house punctum books.The first two volumes of Dotawo have their origins in a Nubian language panel organized by Angelika Jakobi within the Nilo-Saharan Linguistics Colloquium held at the University of Cologne, May 22 to 24, 2013. Since many invited participants from Sudan were unable to get visas due to the shutdown of the German Embassy in Khartoum at that time, the Fritz Thyssen Foundation funded the organization of a second venue of specialists on modern Nubian languages. This so-called “Nubian Panel 2” was hosted by the Institute of African & Asian Studies at the University of Khartoum on September 18 and 19, 2013. This volume publishes the proceedings of that panel.Future volumes will address three more themes: 1) Nubian women; 2) Nubian place names; 3) and know-how and techniques in ancient Sudan. The calls for papers for the first two volumes may be found on the back of this volume. The third volume is already in preparation with the assistance of Marc Maillot of the Section française de la direction des Antiquités du Soudan, Department of Archeology. We welcome proposals for additional themed volumes, and invite individual submissions on any topic relevant to Nubian studies. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aNubian studies =653 \\$alinguistics =653 \\$aepigraphy =653 \\$aarchaeology =653 \\$apapyrology =700 1\$aJakobi, Angelika,$eeditor.$uUniversity of Cologne. =700 1\$aRuffini, Giovanni,$eeditor.$uFairfield University. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0104.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0104.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03638nam 22004212 4500 =001 861ea7cc-5447-4c60-8657-c50d0a31cd24 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692220863$q(Paperback) =024 7\$a10.21983/P3.0148.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afre =072 7$aHDDG$2bicssc =072 7$aSOC003000$2bisacsh =245 00$aDotawo: a Journal of Nubian Studies 3: Know-Hows and Techniques in Ancient Sudan /$cedited by Marc Maillot. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (204 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.The third volume of Dotawo, guest-edited by Marc Maillot, is dedicated to Know-Hows and Techniques in Ancient Sudan. This collection of articles is the result of a workshop held at Lille University on September 5 and 6, 2013, which brought together several Sudanese archaeology scholars, from architecture to iron production through pottery and textile industry. Organized by Faïza Drici, Marie Evina, and Romain David, with the support of Charles de Gaulle-Lille 3 University and the laboratoire de recherche Halma-Ipel UMR 8164 (Centre national de recherche scientifique – CNRS), this workshop was presided over by Vincent Rondot (present Director of the Egyptian Antiquities Department of the Louvre Museum and former Director of Section française de la direction des antiquités du Soudan – SFDAS). The idea of an academic publication of this workshop in Dotawo was presented by Marc Maillot (SFDAS) in September 2014, during the 13th International Conference for Nubian Studies. The project was warmly welcomed by the editorial committee, and gave birth to a fruitful SFDAS/Dotawo cooperation that started a year ago. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aSudan =653 \\$aNubian studies =653 \\$aarcheology =653 \\$aAfrica =653 \\$aancient history =700 1\$aMaillot, Marc,$eeditor.$uFrench National Centre for Scientific Research. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0148.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0148.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03603nam 22004572 4500 =001 431b58fe-7f59-49d9-bf6f-53eae379ee4d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017952906 =020 \\$z9781947447202$q(Paperback) =020 \\$a9781947447219$q(PDF) =024 7\$a10.21983/P3.0184.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRGL$2bicssc =072 7$aSOC015000$2bisacsh =072 7$aHIS001030$2bisacsh =245 00$aDotawo: A Journal of Nubian Studies 4: Place Names and Place Naming in Nubia /$cedited by Robin Seignobos, Alexandros Tsakos. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (280 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and critical and theoretical approaches present in post-colonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of old kingdoms.Place names in Nubia have only received limited attention so far. The need for such a study guided the decision to dedicate the fourth volume of Dotawo to this very issue. Place names are by nature dynamic and may shift over the course of the centuries. Therefore, toponymy is particularly apt to diachronical studies and offer fertile ground for multi-disciplinary analysis. The contents of the volume embrace a wide time frame (from the beginning of recorded history until today) and consist of contributions from scholars active in all fields of Nubian Studies (philology, linguistics, history, archaeology, etc.). The goal has been to gather into one publication the fruits of the collaboration of specialists working with all sorts of theoretical and methodological tools on the successive periods of Nubian history with a focus on the names that identified the micro- and macro-localities where this history was taking place. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aNubian Studies =653 \\$atoponymy =653 \\$ageography =653 \\$alinguistics =653 \\$aarchaeology =700 1\$aSeignobos, Robin,$eeditor.$uInstitut Français d'Archéologie Orientale. =700 1\$aTsakos, Alexandros,$eeditor.$uUniversity of Bergen. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0184.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0184.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03117nam 22004692 4500 =001 3c5923bc-e76b-4fbe-8d8c-1a49a49020a8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018968594 =020 \\$z9781947447998$q(Paperback) =020 \\$a9781950192007$q(PDF) =024 7\$a10.21983/P3.0242.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJHMC$2bicssc =072 7$aSOC008010$2bisacsh =072 7$aSOC032000$2bisacsh =245 00$aDotawo: A Journal of Nubian Studies 5: Nubian Women /$cedited by Anne Jennings. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (268 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Volume 5 of Dotawo focuses on Nubian women, both ancient and contemporary. Nubian women, whether they were queens or commoners, Christians or Muslims, have always been held in high esteem by their communities. The contributors to this volume present articles which address Nubian literature, tomb and temple wall paintings, the challenges of migration and resettlement, cultural tourism, gender roles, women’s health, labor cooperatives, and more. They all focus on the ways in which Nubian women have survived and thrived throughout the centuries. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aNubian studies =653 \\$agender =653 \\$acultural anthropology =653 \\$aEgypt =653 \\$aSudan =653 \\$awomen's health =653 \\$amigration =700 1\$aJennings, Anne,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0242.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0242.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03218nam 22005412 4500 =001 15ab17fe-2486-4ca5-bb47-6b804793f80d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019957622 =020 \\$z9781950192656$q(Paperback) =020 \\$a9781950192663$q(PDF) =024 7\$a10.21983/P3.0321.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHD$2bicssc =072 7$aHRKP1$2bicssc =072 7$aHDDG$2bicssc =072 7$a2HNR$2bicssc =072 7$aSOC008010$2bisacsh =072 7$aNK$2thema =072 7$aQRSA$2thema =072 7$a2HNR$2thema =245 00$aDotawo: A Journal of Nubian Studies 6: Miscellanea Nubiana /$cedited by Adam Simmons. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (192 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.Bringing together a collection of articles that were first presented as papers at the International Medieval Congress at the University of Leeds in 2016 and additional articles, the sixth volume of Dotawo showcases a diverse richness of topics concerning Nubia. The articles within this volume attest to the cultural, linguistic, geographic, and demographic diversity witnessed throughout Nubian history nationally and internationally amongst its neighbours, both near and far. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aNubian studies =653 \\$aarcheology =653 \\$alinguistics =653 \\$ahistory =653 \\$aEthiopia =653 \\$aSudan =653 \\$aEgypt =653 \\$areligion =700 1\$aSimmons, Adam,$eeditor.$uRuhr University Bochum. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0321.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0321.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02950nam 22004452 4500 =001 aa431454-40d3-42f5-8069-381a15789257 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021933400 =020 \\$z9781953035394$q(Paperback) =020 \\$a9781953035400$q(PDF) =024 7\$a10.21983/P3.0350.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aLAN009000$2bisacsh =245 00$aDotawo: A Journal of Nubian Studies 7 :$bComparative Northern East Sudanic Linguistics /$cedited by Vincent W.J. van Gerven Oei. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (314 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The seventh issue of Dotawo is dedicated to Comparative Northern East Sudanic linguistics, offering new insights in the historical connections between the Nubian languages and other members of the NES family such as Nyima, Nara, and Meroitic. A special focus is placed on comparative morphology. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aNubia =653 \\$acomparative linguistics =653 \\$ahistorical linguistics =653 \\$aNilo-Saharan =653 \\$aNorthern East Sudanic =653 \\$aMeroitic =653 \\$aSudan =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0350.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0350.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03654nam 22005412 4500 =001 466dfea0-8fa6-4f10-a48e-00d5a6c8d92c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023940889 =020 \\$z9781685711689$q(Paperback) =020 \\$a9781685711696$q(PDF) =024 7\$a10.53288/0515.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a1HBS$2bicssc =072 7$aHBJH$2bicssc =072 7$aHBW$2bicssc =072 7$aHIS001020$2bisacsh =072 7$aHIS027130$2bisacsh =072 7$a1HBS$2thema =072 7$aNHH$2thema =072 7$aNHW$2thema =245 00$aDotawo: A Journal of Nubian Studies 8 :$bWar in the Sudan /$cedited by Henriette Hafsaas. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (212 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =505 0\$aHenriette Hafsaas – The Role of Warfare and Headhunting in Forming Ethnic Identity: Violent Clashes between A-Group and Naqada Peoples in Lower Nubia (mid-4th Millennium BCE)Matthieu Honegger – The Archers of Kerma: Warrior Image and Birth of a StateUroš Matić – Gender as Frame of War in Ancient NubiaAlexandros Tsakos – Words on Warfare from Christian NubiaRoksana Hajduga – The Art of Revolution: The Online and Oine Perception of Communication during the Uprisings in Sudan in 2018 and 2019 =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDotawo: A Journal of Nubian Studies offers a platform in which the old meets the new, in which archaeological, papyrological, and philological research into Meroitic, Old Nubian, Coptic, Greek, and Arabic sources confront current investigations in modern anthropology and ethnography, Nilo-Saharan linguistics, and the critical and theoretical approaches of postcolonial and African studies. Dotawo gives a common home to the past, present, and future of one of the richest areas of research in African studies. It offers a crossroads where papyrus can meet the internet, scribes meet critical thinkers, and the promises of growing nations meet the accomplishments of older kingdoms.The eighth issue of Dotawo aims to offer new insights into violent conflicts and wars in Sudan through time and across the region. Special attention is devoted to research on Nubia. The authors use archaeological, historical, philological, and artistic sources to investigate war in the Sudan from the 4th millennium BCE until the present day. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aconflict =653 \\$aNubia =653 \\$aSudan =653 \\$awar =653 \\$aanthropology =653 \\$aarcheology =653 \\$agender studies =700 1\$aHafsaas, Henriette,$eeditor.$uVolda University College.$0(orcid)0000000182734427$1https://orcid.org/0000-0001-8273-4427 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0515.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0515.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03591nam 22005532 4500 =001 6092f859-05fe-475d-b914-3c1a6534e6b9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020947754 =020 \\$z9781953035165$q(Paperback) =020 \\$a9781953035172$q(PDF) =024 7\$a10.21983/P3.0306.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aRBC$2bicssc =072 7$a1DNC$2bicssc =072 7$aBIO030000$2bisacsh =072 7$aNAT009000$2bisacsh =072 7$aDNC$2thema =072 7$aRBC$2thema =072 7$a1DNC$2thema =100 1\$aPálsson, Gísli,$eauthor.$uUniversity of Iceland.$0(orcid)0000000196020839$1https://orcid.org/0000-0001-9602-0839 =245 10$aDown to Earth :$bA Memoir /$cGísli Pálsson; translated by Anna Yates, Katrina Downs-Rose. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (248 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCan one have something in common with a lava field? Can one identify with a mountain, or connect with a contemporary event in the history of the earth, in the way that some people feel connected together by birthday, genetic fingerprint, or zodiac sign? In the terms of the Christian burial ceremony, what is this earth from which we come and to which we return?In Down to Earth, Gísli Pálsson explores such questions through both personal reflection on the microcosm of his childhood home, an Icelandic island disrupted by volcanic eruption, and a critical discussion of the current age of the Anthropocene, characterized by the growing environmental impact of humans. While environmental hazards caused by humans often inform public discussion of the Anthropocene, human impact on the planet is not always detrimental. This book discusses in detail the pioneering effort on Heimaey island to cool molten lava and to divert its flow, in order to save a fishing harbor and the community it has allowed to thrive. Mingling the personal and the geological, the local and the global, Down to Earth should appeal to many readers in diverse contexts throughout the English-speaking world. The author appears to the reader when it suits him, naturally enough, and on occasion near the center of the narrative, in the vicinity of earthquakes, eruptions, and other natural hazards. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$avolcanology =653 \\$aIceland =653 \\$aanthropology =653 \\$aWestman Island =653 \\$aseismology =653 \\$ageography =700 1\$aYates, Anna,$etranslator. =700 1\$aDowns-Rose, Katrina,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0306.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0306.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05066nam 22004572 4500 =001 ac6acc15-6927-4cef-95d3-1c71183ef2a6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018968574 =020 \\$z9781950192014$q(Paperback) =020 \\$a9781950192021$q(PDF) =024 7\$a10.21983/P3.0239.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPDF$2bicssc =072 7$aPHI028000$2bisacsh =072 7$aPHI018000$2bisacsh =100 1\$aJenkins, Nico,$eauthor.$uHusson University. =245 10$aEchoes of No Thing :$bThinking between Heidegger and Dōgen /$cNico Jenkins. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (210 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEchoes of No Thing seeks to understand the space between thinking which Martin Heidegger and the 13th-century Zen patriarch Eihei Dōgen explore in their writing and teachings. Heidegger most clearly attempts this in Contributions to Philosophy (of the Event) and Dōgen in his Shōbōgenzō, a collection of fascicles which he compiled in his lifetime. Both thinkers draw us towards thinking, instead of merely defining systems of thought. Both Heidegger and Dōgen imagine possibilities not apparent in the world we currently inhabit, but notably, find possible, through a refashioning of thinking as a soteriological reimagining that clears space for the presencing of an authentic experience in the space which emerges between certainties. Jenkins elucidates this soteriological reimagining through a close reading of both authors’ conceptions of time and space, and by developing a practice of listening that is attuned to the echoes that resonate between the two thinkers.While Heidegger often wrote about new beginnings (as well as about gathering oneself, preparing the site, clearings, and practicing) in preparation for the evental un-concealing of truth, nowhere is this as present as in the enigmatic, difficult, and in fact beautiful, Contributions. To call a text beautiful, especially a work of philosophy, risks committing an act of disingenuity, and yet Contributions, like Jacques Derrida’s Glas or Walter Benjamin’s unfinished Arcades Project, rises to this acclaim through its very resistance to a system, its refusal to be easily digested, or even understood. Contributions is unfinished, partial, even at times muttered; it is the beginning of a thinking which takes place on a path and as such cannot imagine—or refuse—its final destination. It invites us to take up towards, but not to insist on, its thinking; it is a “turn” away from the reason and logic of a technologized world and returns philosophy—as a thinking—to a place of wonder and awe.Dōgen’s Shōbogenzō, from another culture and time entirely, is also a beautiful text, for similar reasons. The Shōbogenzō, gathered first as a series of talks given by Eihei Dōgen (and later composed as written texts) details the process of understanding which leads, for Dōgen, to a position of pure seeing, or satori, and yet these talks are not simply rules for monks, nor merely imprecations and demands for a laity; rather, they open a being’s thinking to the possibility of something purely other and work as a transition across worlds that also opens us to an other world.What both thinkers illustrate, as do the other thinkers drawn on in this project—most notably, those philosophers associated with the Kyoto School, who were both intimately aware of Dōgen’s work, and studied, or studied with, Heidegger—is that world is not a fixed, stable entity; rather it is a fugal composition of possibility, of as yet untraversed—and at times un-traversable—spaces. Echoes of No Thing seeks to examine, within the lacunal eddies of be-coming’s arrival, that space between which both thinkers point towards as possible sites of new beginnings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAsian philosophy =653 \\$aEihei Dōgen =653 \\$aMartin Heidegger =653 \\$acontinental philosophy =653 \\$acomparative philosophy =653 \\$aZen Buddhism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0239.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0239.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03882nam 22003732 4500 =001 20d15631-f886-43a0-b00b-b62426710bdf =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237558$q(Paperback) =024 7\$a10.21983/P3.0157.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aART006010$2bisacsh =100 1\$aMohaghegh, Jason Bahbak,$eauthor.$uBabson College. =245 10$aElemental Disappearances /$cJason Bahbak Mohaghegh, Dejan Lukić. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (164 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe things sought after here are apparitional: they appear and disappear at will; they perfect the art of materialization and vanishing. Such is the nature of living dangerously, and with it the short duration of enchantment. This collection tracks provocative ideas, artifacts, and phenomena rising and fading across different territories of the contemporary world. Through a constellation of powerful thought-images, the authors uncover spaces of an ephemeral and fugitive nature in order to generate a fractal vision of our time and beyond.A former communist prison island in the Adriatic Sea, now abandoned and overgrown with wild plants; the stone garden of a deaf Iranian peasant who dances ecstatically among his geological formations; a Belgian sculptor who combines wax and flesh to depict human and animal forms in states of half-manifestation, incompletion (missing limbs), or branching (morphing into other organisms); a cultural movement in Brazil that takes the discarded debris of urban centers and transforms their splintered wood pieces into massive labyrinths and underground caverns; a blacksmith poet in Afghanistan who alternates between tasks of hammering metal and writing lyrical verses amidst the smoke-clouds of his forge; a Cuban writer whose delirious fixation with the sea compels him to invent a language of pure untimeliness.There are countless sites of disturbance within the postmodern landscape, and yet far too often these disruptive “scenes” remain untheorized and misaligned, treated as random deviations and thus afforded no surpassing consequence or philosophical complexity. Such micro-trajectories necessitate an archive and conceptual matrix that will steal them from their false obscurity and decipher them instead as the passcodes to an imminent global turn. For this, one must return to the amorphous outlook of “the marauder” or “the wanderer.” This book, then, aims to devise an ever-expanding configuration of radical outsides: elemental fronts that lead to unforeseen principles; alternative profiles of experience (intense becomings); incendiary, ominous, or vitalistic signs in circulation across the epochal horizon. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aexhibition catalog =700 1\$aLukić, Dejan,$eauthor.$uSchool of Visual Arts. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0157.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0157.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02734nam 22003852 4500 =001 d5f5978b-32e0-44a1-a72a-c80568c9b93a =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692298268$q(Paperback) =024 7\$a10.21983/P3.0086.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =100 1\$aPol, David,$eauthor. =245 10$aI Open Fire /$cDavid Pol. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (56 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDavid Pol presents an ontology of war in the form of the lyric poem.“Do you hearwhat I’m shooting at you?”In I Open Fire, all relation is warfare. Minefields compromise movement. Intention aims. Touch burns. Sex explodes bodies. Time ticks in bomb countdowns. Sound is sirens. Plenitude is debris. All of it under surveillance.“My world is critically injured.It was ambushed.”The poems in this book perform the reductions and repetitions endemic to war itself, each one returning the reader to the same, unthinkable place in which the range of human experience has been so flattened that, despite all the explosive action,“Almost nothing is happening.”Against this backdrop, we continue to fall in love. But Pol’s poems remind us that this is no reason for optimism. Does love offer a delusional escape from war, or are relationships the very definition of combat? These poems take up the themes of love, sex, marriage, touch, hope — in short, the many dimensions of interpersonal connection — in a world in unprecedentedly critical condition.“And when the night goes offthe shock wavethrows us aparttoward each other.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$alove =653 \\$awarfare =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0086.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0086.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02677nam 22005532 4500 =001 ca875697-7ffc-4b38-8868-51de34465969 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023936717 =020 \\$z9781685711504$q(Paperback) =020 \\$a9781685711511$q(PDF) =024 7\$a10.53288/0502.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAJB$2bicssc =072 7$aRNQ$2bicssc =072 7$a1FPJ$2bicssc =072 7$aPHO011010$2bisacsh =072 7$aHIS027030$2bisacsh =072 7$aAJCD$2thema =072 7$aRNQ$2thema =072 7$a3MPQ-JP-B$2thema =100 1\$aNagai, Mariko Nagai,$eauthor.$uTemple University, Japan. =245 10$aIrradiated Cities /$cMariko Nagai. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (146 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe before, the after, and the event that divides. In Irradiated Cities, Mariko Nagai seeks the dividing events of nuclear catastrophe in Japan, exploring the aftermath of the bombings at Hiroshima and Nagasaki and the nuclear meltdown at Fukushima. Nagai’s lyric textual fragments and stark black and white photographs act as a guide through these spaces of loss, silence, echo, devastation, and memory. And haunting each shard and each page an enduring irradiation, the deadly residue of catastrophe that leaks into our DNA.Winner of the 2015 NOS Book Contest, as selected by guest judge lê thi diem thúy. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphotography =653 \\$anuclear disasters =653 \\$anuclear bomb =653 \\$anuclear energy =653 \\$aHiroshima =653 \\$aFukushima =653 \\$aNagasaki =653 \\$aTokyo =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0502.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0502.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03528nam 22004212 4500 =001 85a2a2fe-d515-4784-b451-d26ec4c62a4f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615811147$q(Paperback) =024 7\$a10.21983/P3.0037.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aART062000$2bisacsh =245 00$aIteration:Again: 13 Public Art Projects across Tasmania /$cedited by David Cross. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (176 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIteration:Again documents and reflects upon a series of thirteen temporary public art commissions by twenty-one Australian and international artists that took place across Tasmania from September 18 to October 15, 2011. Produced by Contemporary Art Spaces Tasmania and David Cross, in conjunction with seven partner curators, Iteration:Again presents a compelling array of temporary artworks in largely unexpected places throughout Tasmania. Working to transform our experience of place for a moment in time, each commission seeks to address how temporary interventions or responses by artists to public sites, environments and buildings can serve to open up new ways of understanding Tasmania as a place with very complex cultural, social and spatial resonances.How it might be possible to introduce transformative elements that challenge the notion of a fixed or definitive artwork grounded in one location? By asking the artists to make four different chapters or ‘iterations’ over the course of a four-week period, David Cross challenged each practitioner to think through how change or processes of transition may function to make the art experience an unstable and contingent one. This idea of incorporating change into the work highlights a growing interest by artists in emphasizing art as a potentially theatrical or even fictive medium with the audience experiencing different moments or stages of encounter over a number of weeks. The idea provided for the possibility of narrative sequences, formal investigations, or temporal shifts that saw key additions or subtractions over time. Each commission sought to recast our understanding of public artwork from a discrete event or viewing experience, to a suite of experiences. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apublic art =653 \\$acontemporary art =653 \\$aAustralia =653 \\$aTasmania =653 \\$arepetition =700 1\$aCross, David,$eeditor.$uMassey University. =700 1\$aEdwards, Michael,$eforeword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0037.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0037.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03439nam 22003972 4500 =001 f3db2a03-75db-4837-af31-4bb0cb189fa2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692253397$q(Paperback) =024 7\$a10.21983/P3.0073.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI018000$2bisacsh =245 00$aItinerant Philosophy :$bOn Alphonso Lingis /$cedited by Bobby George, Tom Sparrow. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (190 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAlphonso Lingis is the author of fourteen books and many essays. He is emeritus professor of philosophy at Pennsylvania State University. While many know him only as an eccentric ex-professor or as the translator of Emmanuel Levinas, Maurice Merleau-Ponty, and Pierre Klossowski, he is arguably the most distinctive voice in American continental philosophy. This is no doubt due to the perpetual travel that fuels his arresting written prose and unorthodox public readings. Lingis’s lifelong itinerary includes visits — some brief, others extended or recurring — to 109 countries. Along the way he has photographed innumerable strangers whose faces adorn the pages of his books. Photography is as essential to Lingis’s multidisciplinary philosophical perspective as is his knowledge of phenomenology, anthropology, or psychoanalysis. Some of his photographs have been recently collected and published in the book Contact. Unlike most career academics, Lingis has made a name for himself collecting exotic birds and other creatures, staging performance readings at professional conferences, keeping up a diligent correspondence with friends at home and abroad, and splicing together high theory with intimate autobiography. Those who know him speak of his warmth, sincerity, and noncombative style of argumentation — rare traits among university scholars. Itinerant Philosophy: On Alphonso Lingis gathers a diverse collection of texts on Lingis’s life and philosophy, including poetry, original interviews, essays, book reviews, and a photo essay. It also includes an unpublished piece by Lingis, “Doubles,” along with copies of several of his letters to a friend. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAlphonso Lingis =653 \\$aphilosophy =653 \\$aphotography =700 1\$aGeorge, Bobby,$eeditor.$uKingston University. =700 1\$aSparrow, Tom,$eeditor.$uSlippery Rock University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0073.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0073.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03022nam 22003972 4500 =001 1376b0f4-e967-4a6f-8d7d-8ba876bbbdde =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615858968$q(Paperback) =024 7\$a10.21983/P3.0056.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAN$2bicssc =072 7$aPER011020$2bisacsh =100 1\$aSkantze, P.A.,$eauthor.$uUniversity of Roehampton. =245 10$aItinerant Spectator/Itinerant Spectacle /$cP.A. Skantze. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (262 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aItinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$atheater =653 \\$aperformance studies =653 \\$acultural studies =653 \\$adrama =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0056.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0056.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03157nam 22004092 4500 =001 c6125a74-2801-4255-afe9-89cdb8d253f4 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615734514$q(Paperback) =024 7\$a10.21983/P3.0013.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPQ$2bicssc =072 7$aLIT004020$2bisacsh =100 1\$aJourdan, Phil,$eauthor. =245 10$aJohn Gardner :$bA Tiny Eulogy /$cPhil Jourdan. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (60 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aJohn Gardner’s career was permanently changed by his publication of On Moral Fiction (1978), a controversial and derided assessment of the state of literature as Gardner saw it. By arguing for a return to greater seriousness and moral commitments in literature, Gardner found himself attacked on all sides by critics and writers who found his conservatism suspicious or simply irrelevant.In this short tribute to Gardner’s late intellectual concerns, Phil Jourdan looks at some of the difficulties in On Moral Fiction, and asks whether Gardner was rigorous enough in his deployment of various philosophical concepts through his book. Convinced that, despite any problems of argumentative method or intellectual honesty, On Moral Fiction‘s basic message should not be dismissed outright, Jourdan tries to determine what is superfluous to the book, so that we may focus on its core: a call for writers not to forget their moral influence on readers.Now that Gardner’s career is half-forgotten, it is worth remembering this impassioned and public debate on the role of literature has been around far longer than we care to pretend: throughout the centuries, as literature attempts to define itself over and over, the question of morality is always lurking in the background. In John Gardner: A Tiny Eulogy, Phil Jourdan tries to separate the man from the argument, and insists that the latter should not be dismissed because of the imperfection of the former. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJohn Gardner =653 \\$aeulogy =653 \\$acreative writing =653 \\$aphilosophy of fiction =653 \\$aethics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0013.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0013.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03382nam 22004452 4500 =001 da814d9f-14ff-4660-acfe-52ac2a2058fa =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692232835$q(Paperback) =024 7\$a10.21983/P3.0070.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$aita =072 7$aHPQ$2bicssc =072 7$aPHI013000$2bisacsh =245 00$aJournal of Badiou Studies 3 :$bOn Ethics /$cedited by Nicolò Fazioni, Michael J. Kelly, Arthur Rose. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (314 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aJournal of Badiou Studies (General Editors: Michael J. Kelly and Arthur James Rose) is a multilingual, peer-reviewed journal dedicated to the philosophy and thought of, and surrounding, the philosopher, playwright, novelist, and poet Alain Badiou. Badiou Studies is dedicated to original, critical and challenging arguments that directly engage with the conditions and circumstances of Badiou’s thought. We aim to identify pertinent intellectual discourses, ideas, historiographies, and concepts, and seek articles that situate these theories within emerging events in politics, science, art and love. Badiou Studies is especially concerned with maintaining a fidelity to Badiou’s thinking without collapsing into hagiography or celebrity fetishism. This is why we encourage works that actively critique Badiou’s philosophy and his currency as an established philosophical figure. Badiou himself embraces this approach and serves on the journal’s Advisory Board.Alain Badiou’s small book on ethics (Ethics: An Essay on the Understanding of Evil) remains one of the most important points of entry into Badiou’s thought, since it is not only widely read across disciplines but is also one of the most widely translated of all of his works. This issue of Badiou Studies (Vol. 3) draws together scholarly responses and criticisms to Badiou’s ethics. Sometimes in agreement, sometimes in violent opposition, always faithful to the imperative to keep thought going. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAlain Badiou =653 \\$aphilosophy =653 \\$aethics =653 \\$adialectics =653 \\$acinema =700 1\$aFazioni, Nicolò,$eeditor.$uUniversity of Padua. =700 1\$aKelly, Michael J.,$eeditor.$uUniversity of Leeds. =700 1\$aRose, Arthur,$eeditor.$uUniversity of Leeds. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0070.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0070.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03536nam 22004572 4500 =001 7e2e26fd-4b0b-4c0b-a1fa-278524c43757 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017945568 =020 \\$z9781947447066$q(Paperback) =020 \\$a9781947447073$q(PDF) =024 7\$a10.21983/P3.0173.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI001000$2bisacsh =245 00$aJournal of Badiou Studies 5 :$bArchitheater /$cedited by Michael J. Kelly, Arthur Rose, Adi Efal-Lautenschläger. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (146 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe fifth volume of the Journal of Badiou Studies, “Architheater,” energized by the publication of Badiou’s Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: ‘Engaging’ here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou’s philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou’s philosophy as a center of convergence-nexus of a plethora of philosophical positions that include artistic production as a central element of their structure. Thematically, the volume limits its discussion to “a two” of architecture and theater, thinking their overlapping, juxtaposition, and respective generative capacities.JBS 5 suggests superimposing these two “media” and posing them at the center of the volume for several reasons: Politically, both theater and architecture actively engage in the life of the polis, they effectually and factually demand the participation of collective and material actors. Poietically, both media manifest a comprehensive form of artistic production, that is to say they both include elements and organs (actors, designers, lighting-specialists, engineers, planners, executives, actors, dancers, etc.) that are required as collaborators in the realization of the piece. The Architect, on the one hand, and the Theater maker, on the other, both produce what could be defined as a world, or, in Badiou’s terms, a formation of a subject =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$atheater =653 \\$aphilosophy =653 \\$aontology =653 \\$apoetics =700 1\$aKelly, Michael J.,$eeditor.$uBinghamton University. =700 1\$aRose, Arthur,$eeditor. =700 1\$aEfal-Lautenschläger, Adi,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0173.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0173.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02592nam 22004812 4500 =001 3a80885a-8d06-4fd8-8dcc-1eed76b582f5 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023944929 =020 \\$z9781685711764$q(Paperback) =020 \\$a9781685711771$q(PDF) =024 7\$a10.53288/0510.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE011000$2bisacsh =072 7$aDCF$2thema =072 7$aDCC$2thema =100 1\$aBeaulieu, Derek,$eauthor.$uBanff Centre. =245 10$aKern /$cDerek Beaulieu. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (106 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aProposed as a collection of imaginary logos for the corporate sponsors of Borges’s Library of Babel, Kern balances on a precipice between the visual and nonsensical, offering poems just out of meaning’s reach. Using dry-transfer lettering, Derek Beaulieu made these concrete pieces by hand, building the images gesturally in response to shapes and patterns in the letters themselves. This is poetry closer to architecture and design than confession, in which letters are released from their usual semantic duties as they slide into unexpected affinities and new patterns. Kern highlights the gaps inside what we see and what we know, filling the familiar with the singular and the just seen with the faintly remembered. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$avisual poetry =653 \\$adry-transfer lettering =653 \\$aasemic writing =653 \\$alanguage art =653 \\$asignage =653 \\$aadvertising =653 \\$agraphic art =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0510.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0510.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03955nam 22004212 4500 =001 d2e40ec1-5c2a-404d-8e9f-6727c7c178dc =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531847$q(Paperback) =024 7\$a10.21983/P3.0166.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJWXK$2bicssc =072 7$aPOL061000$2bisacsh =100 1\$aWeber, Elisabeth,$eauthor.$uUniversity of California, Santa Barbara. =245 10$aKill Boxes :$bFacing the Legacy of US-Sponsored Torture, Indefinite Detention, and Drone Warfare /$cElisabeth Weber. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (276 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aKill Boxes addresses the legacy of US-sponsored torture, indefinite detention, and drone warfare by deciphering the shocks of recognition that humanistic and artistic responses to violence bring to consciousness if readers and viewers have eyes to face them.Beginning with an analysis of the ways in which the hooded man from Abu Ghraib became iconic, subsequent chapters take up less culturally visible scenes of massive violations of human rights to bring us face to face with these shocks and the forms of recognition that they enable and disavow. We are addressed in the photo of the hooded man, all the more so as he was brutally prevented, in our name, from returning the camera’s and thus our gaze. We are addressed in the screams that turn a person, tortured in our name, into howling flesh. We are addressed in poems written in the Guantánamo Prison camp, however much American authorities try to censor them, in our name. We are addressed by the victims of the US drone wars, however little American citizens may have heard the names of the places obliterated by the bombs for which their taxes pay. And we know that we are addressed in spite of a number of strategies of brutal refusal of heeding those calls.Providing intensive readings of philosophical texts by Jean Améry, Jacques Derrida, and Christian Thomasius, with poetic texts by Franz Kafka, Paul Muldoon, and the poet-detainees of Guantánamo Bay Prison Camp, and with artistic creations by Sallah Edine Sallat, the American artist collective Forkscrew and an international artist collective from Pakistan, France and the US, Kill Boxes demonstrates the complexity of humanistic responses to crimes committed in the name of national security. The conscious or unconscious knowledge that we are addressed by the victims of these crimes is a critical factor in discussions on torture, on indefinite detention without trial, as practiced in Guantánamo, and in debates on the strategies to circumvent the latter altogether, as practiced in drone warfare and its extrajudicial assassination program. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$atorture =653 \\$adrone warfare =653 \\$aAbu Ghraib =653 \\$aGuantánamo Bay =653 \\$ahuman rights =700 1\$aFalk, Richard,$eafterword by.$uPrinceton University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0166.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0166.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03168nam 22004452 4500 =001 75693fd0-e93a-4fc3-b82e-4c83a11f28b1 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692540794$q(Paperback) =024 7\$a10.21983/P3.0121.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFJ$2bicssc =072 7$aSOC056000$2bisacsh =072 7$aPOL023000$2bisacsh =072 7$a5PB-US-C$2thema =072 7$aKCP$2thema =072 7$aJBSL1$2thema =100 1\$aSpence, Lester K.,$eauthor.$uJohns Hopkins University. =245 10$aKnocking the Hustle :$bAgainst the Neoliberal Turn in Black Politics /$cLester K. Spence. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (190 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOver the past several years scholars, activists, and analysts have begun to examine the growing divide between the wealthy and the rest of us, suggesting that the divide can be traced to the neoliberal turn. “I’m not a business man; I’m a business, man.” Perhaps no better statement gets at the heart of this turn. Increasingly we’re being forced to think of ourselves in entrepreneurial terms, forced to take more and more responsibility for developing our “human capital.” Furthermore a range of institutions from churches to schools to entire cities have been remade, restructured to in order to perform like businesses. Finally, even political concepts like freedom, and democracy have been significantly altered. As a result we face higher levels of inequality than any other time over the last century.In Knocking the Hustle: Against the Neoliberal Turn in Black Politics, Lester K. Spence writes the first book length effort to chart the effects of this transformation on African American communities, in an attempt to revitalize the black political imagination. Rather than asking black men and women to “hustle harder” Spence criticizes the act of hustling itself as a tactic used to demobilize and disempower the communities most in need of empowerment. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aBlack politics =653 \\$apolitical science =653 \\$acultural studies =653 \\$aneoliberal economics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0121.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0121.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02954nam 22003972 4500 =001 ed3ea389-5d5c-430c-9453-814ed94e027b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692558447$q(Paperback) =024 7\$a10.21983/P3.0123.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aEDU040000$2bisacsh =100 1\$aKeeney, Gavin,$eauthor.$0(orcid)0000000311878989$1https://orcid.org/0000-0003-1187-8989 =245 10$aKnowledge, Spirit, Law, Book 1 :$bRadical Scholarship /$cGavin Keeney. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (234 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aKnowledge, Spirit, Law is a de facto phenomenology of scholarship in the age of neoliberal capitalism. The eleven essays (plus Appendices) in Book 1: Radical Scholarship cover topics and circle themes related to the problems and crises specific to neoliberal academia, while proposing creative paths around the various obstructions. The obstructions include metrics-obsessed academia, circular and incestuous peer review, digitalization of research as stalking horse for text- and data-mining, and violation by global corporate fiat of Intellectual Property and the Moral Rights of Authors. These issues, while addressed obliquely in the main text, definitively inform the various proscriptive aspects of the essays and, via the Introduction and Appendices, underscore the necessity of developing new-old means to no obvious end in the production of knowledge — that is to say, a return to forms of non-instrumentalized intellectual inquiry. To be developed in two concurrent volumes, Knowledge, Spirit, Law will serve as a “moving and/or shifting anthology” of new forms of expression in humanistic studies. Book 2: The Anti-Capitalist Sublime will be published in Autumn 2017. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afilm studies =653 \\$aintellectual property =653 \\$aepistemology =653 \\$aanti-capitalism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0123.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0123.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03173nam 22004332 4500 =001 14f2b847-faeb-43c9-b116-88a0091b6f1f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017960499 =020 \\$z9781947447349$q(Paperback) =020 \\$a9781947447356$q(PDF) =024 7\$a10.21983/P3.0191.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aEDU040000$2bisacsh =100 1\$aKeeney, Gavin,$eauthor.$0(orcid)0000000311878989$1https://orcid.org/0000-0003-1187-8989 =245 10$aKnowledge, Spirit, Law, Book 2 :$bThe Anti-Capitalist Sublime /$cGavin Keeney. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (270 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aKnowledge, Spirit, Law // Book 2: The Anti-capitalist Sublime takes up where Knowledge, Spirit, Law // Book 1: Radical Scholarship (2015) left off, foremost in terms of a critique of neo-liberal academia and its demotion of the book in favor of various mediatic practices that substitute, arguably, for the one form of critical inquiry that might safeguard speculative intellectual inquiry as long-form and long-term project, especially in relationship to the archive or library (otherwise known as the “public domain”).This ongoing critique of neo-liberal academia is a necessary corrective to processes underway today toward the further marginalization of radical critique, with many of the traditional forms of sustained analysis being replaced by pseudo-empirical studies that abandon themes only presentable in the Arts and Humanities through the “arcanian closure” that the book as long-form inquisition represents (whether as novel, non-fictional critique, or something in-between). As a tomb for thought, this privileging of the shadowy recesses of the book preserves, through the very apparatuses of long- and slow-form scholarship, the premises presented here as indicative of an anti-capitalist project embedded in works that might otherwise shun such a characterization. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afilm studies =653 \\$auniversity studies =653 \\$aChris Marker =653 \\$adigital humanities =653 \\$acognitive capitalism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0191.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0191.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03912nam 22004692 4500 =001 ce7ec5ea-88b2-430f-92be-0f2436600a46 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020941553 =020 \\$z9781953035004$q(Paperback) =020 \\$a9781953035011$q(PDF) =024 7\$a10.21983/P3.0337.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aSOC008010$2bisacsh =245 00$aLamma :$bA Journal of Libyan Studies 1 /$cedited by Leila Tayeb, Adam Benkato, Amina Zarrugh. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (130 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aLamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to a wide a range of disciplines, sources, and approaches, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields can interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies.” We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma, "a gathering."This first issue of Lamma brings together academic research, cultural commentary, literature, and translation. It aims to show some of the possible varieties of research on Libya, from history and literature to sociolinguistics, gender studies, and more. But, perhaps more importantly, it aims to show that the efforts of academic researchers, cultural actors, writers, translators, and even artists are not separate endeavors but rather intertwined. By bringing these efforts together in one forum, we hope to set them in fruitful dialog with each other—and thus begin to complexify the notion of "Libyan Studies." =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aLibyan Studies =653 \\$aLibya =653 \\$asociolinguistics =653 \\$ahistory =653 \\$aliterature =653 \\$aculture =653 \\$atranslation =700 1\$aTayeb, Leila,$eeditor.$uCornell University.$0(orcid)0000000202974082$1https://orcid.org/0000-0002-0297-4082 =700 1\$aBenkato, Adam,$eeditor.$uUniversity of California, Berkeley.$0(orcid)0000000342995205$1https://orcid.org/0000-0003-4299-5205 =700 1\$aZarrugh, Amina,$eeditor.$uTexas Christian University.$0(orcid)0000000342774656$1https://orcid.org/0000-0003-4277-4656 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0337.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0337.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05441nam 22005892 4500 =001 70562164-2f8a-46d1-9823-c71f69f258b1 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\ara\d =010 \\$a9781685711542 =020 \\$z9781685711542$q(Paperback) =020 \\$a9781685711559$q(PDF) =024 7\$a10.53288/0504.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aara$aeng =072 7$aJHMC$2bicssc =072 7$a1HBL$2bicssc =072 7$aSOC008010$2bisacsh =072 7$aPOL045000$2bisacsh =072 7$aJHMC$2thema =072 7$a1HBL$2thema =245 00$aLamma :$bA Journal of Libyan Studies 2 /$cedited by Adam Benkato, Leila Tayeb, Amina Zarrugh. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (190 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =505 0\$aLameen Souag & Adam Benkato – “The Tuareg dialect of Ghat in 1850”Leila Tayeb – “Roundtable: Methods and Sources for a New Generation of Libyan Studies”Adam Benkato – “Research on Language in Libya”Fathia Elmenghawi – “Challenges and Promises Related to Research on Women and Public Space in Tripoli, Libya”Asma Khalifa – “Field Research in Libya”Leila Tayeb – “Knowing Libya: Ethnography”Amina Zarrugh – “Libyan Studies: A Call to Sociology”Ibrahim al-Imam translated by Safa Elnaili – “The Oasis Folks”Khaoula Bengezi – “Uncovering Concealed Past, Centering Silenced Knowledges”Ouissal Harize – “‘Qtǝlni al-shar’”Khaled Mattawa – “Rising from Shar: A Meditation on the Future of our History”Ali Ahmida – “Review of Religion as Resistance by Eileen Ryan”Tasnim Qutait – “Review of Women in the Modern History of Libya edited by Barbara Spadaro & Katrina Yeaw”N. A. Mansour – “Review of In Vested Interests edited by AbdulMagid Breish, Louisa MacMillan, & Mysa Kafil-Hussain”Sarri Elfaituri – “Tajarrod Foundation: Towards a new free and creative space” (in Arabic) =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aLamma aims to provide a forum for critically understanding the complex ideas, values, social configurations, histories, and material realities in Libya. Recognizing, and insisting on, the urgent need for such a forum, we give attention to as wide a range of disciplines, sources, and approaches as possible, foregrounding especially those which have previously received less scholarly attention. This includes, but is not limited to: anthropology, art, gender, history, linguistics, literature, music, performance studies, politics, religion, and urban studies, in addition to their intersections, their subfields, the places in between, and critical, theoretical, and postcolonial approaches thereto. Lamma is a space where these fields interact and draw from one another, and where scholars and students from inside and outside of Libya gather to redefine and reshape “Libyan Studies”. We believe that access to research is not the privilege of a few but the right of all and that knowledge production should be inclusive. For these reasons the journal takes its name from the Arabic word lamma “a gathering.”The contributions in this second issue help to open up space for interrelated discussions on a variety of topics, almost all largely neglected in the contemporary scholarly study of Libya. The focal point of this issue is the reflective contributions by members of a roundtable discussion “Methods and Sources for a New Generation of Libyan Studies” which took place at the 2020 MESA conference. We also mark the publication of a watershed book on genocide in colonial Libya with a trio of responses. As ever, we believe in the generative power in dialoguing and mixing works of art, literature, and scholarship as we seek to shape and re-shape new discussions on, about, from, and in Libya. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aLibyan Studies =653 \\$aLibya =653 \\$alinguistics =653 \\$amethods =653 \\$aliterature =653 \\$afield research =653 \\$aethnography =653 \\$acolonialism =653 \\$ahistory =653 \\$asociology =700 1\$aBenkato, Adam,$eeditor.$uUniversity of California, Berkeley.$0(orcid)0000000342995205$1https://orcid.org/0000-0003-4299-5205 =700 1\$aTayeb, Leila,$eeditor.$uNorthwestern University in Qatar.$0(orcid)0000000202974082$1https://orcid.org/0000-0002-0297-4082 =700 1\$aZarrugh, Amina,$eeditor.$uTexas Christian University.$0(orcid)0000000342774656$1https://orcid.org/0000-0003-4277-4656 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0504.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0504.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04097nam 22004092 4500 =001 d0d59741-4866-42c3-8528-f65c3da3ffdd =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531861$q(Paperback) =024 7\$a10.21983/P3.0169.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aGTE$2bicssc =072 7$aPHI038000$2bisacsh =100 1\$aBraune, Sean,$eauthor. =245 10$aLanguage Parasites :$bOf Phorontology /$cSean Braune. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (136 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWho speaks when you speak? Who writes when you write? Is it “you”—is it the “I” that you think you are? Or are we the chance inheritors of an invasive, exterior parasite—a parasite that calls itself “Being” or “Language?” If our sense of self is best defined on the basis of an exterior, parasitical force that enters us from the outside, then the “self” is no longer a centralized or agential “inside,” but rather becomes reconfigured as the result of an “outside” that parasitizes the “inside”-as-host. Rough versions of this model can be found in several traditions of continental philosophy: in Lacan, Derrida, Serres, Kristeva, Foucault, Baudrillard, to name a few. However, the full implications of this ontological model have yet to be addressed: what are its consequences for a theory of subjects, objects, and the agencies that intersect with them? How does this framework alter our understandings of the human and the non-human, the vital and the material?An off-kilter point of view is required to consider this historical and philosophical situation. Language Parasites argues that the best way to conceive of the “self” or “subject” as something linguistically and ontologically constituted by an aggressive and parasitical outside is by asking the following question: “what is the being of a parasite?” In addressing this challenge, Braune combines speculative philosophy with ’Pataphysics (the absurdist science, invented by Alfred Jarry, that theorizes a physics beyond both the para and the meta, resulting in the pata). These theoretical collisions betray a variety of swerves that extend to the social (as a parasite semiotics), the cultural (as the invasive force of memes), the aesthetic (as the transition of postmodernism to postmortemism), the linguistic (as found in Saussure’s paranoid researches into the paragram), the poetic (as seen in Christopher Dewdney’s journey into “Parasite Maintenance” and Christian Bök’s attempts to embed a poem in a bacterium), and the literary (as para-cited in Henry Miller’s experience of housing a parasite named “Conrad Moricand”). The “voice” of the parasite can be found in what Saussure calls the “paragram”—the uncanny messages that lurk hidden underneath the written word. And what does the parasite say? Or, does its speech reject human ears? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apataphysics =653 \\$alinguistics =653 \\$aparagrams =653 \\$aparasite semiotics =653 \\$aphorontology =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0169.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0169.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03490nam 22004572 4500 =001 1a71ecd5-c868-44af-9b53-b45888fb241c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\alb\d =020 \\$z9780692350461$q(Paperback) =024 7\$a10.21983/P3.0094.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aalb$aeng =072 7$aAMGD$2bicssc =072 7$aART062000$2bisacsh =072 7$aPOL005000$2bisacsh =245 00$aLapidari 1 :$bTexts /$cedited by Vincent W.J. van Gerven Oei; translated by Jonida Gashi. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (284 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acommunism =653 \\$aAlbania =653 \\$apublic art =653 \\$amonumentality =653 \\$asocialism =653 \\$apolitical history =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of Aberdeen.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aGashi, Jonida,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0094.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0094.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03440nam 22004452 4500 =001 df518095-84ff-4138-b2f9-5d8fe6ddf53a =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692350492$q(Paperback) =024 7\$a10.21983/P3.0091.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMGD$2bicssc =072 7$aPHO001000$2bisacsh =245 00$aLapidari 2 :$bImages, Part I /$cedited by Vincent W.J. van Gerven Oei. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (336 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acommunism =653 \\$aAlbania =653 \\$apublic art =653 \\$amonumentality =653 \\$asocialism =653 \\$apolitical history =653 \\$aphotography =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of Aberdeen.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aMazzi, Marco,$ephotographer. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0091.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0091.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03441nam 22004452 4500 =001 a9d68f12-1de4-4c08-84b1-fe9a786ab47f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692363423$q(Paperback) =024 7\$a10.21983/P3.0092.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMGD$2bicssc =072 7$aPHO001000$2bisacsh =245 00$aLapidari 3 :$bImages, Part II /$cedited by Vincent W.J. van Gerven Oei. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (336 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn June and July 2014, philologist Vincent W.J. van Gerven Oei and photographer Marco Mazzi undertook the Albanian Lapidar Survey, a project to map, document, and photograph the large majority of Albanian lapidars, a particular type of monument, mainly produced in the period that the communist Labor Party of Albania ruled the country (1945–1990) to commemorate the partisan victims, battles, and military units from the National Anti-Fascist Liberation War (which coincided with World War II), as well as historical figures from before the liberation and the accomplishments of socialism in Albania afterward.These lapidars, which can still be found, albeit in ever decreasing numbers, all over the country — in cities and villages, alongside roads, in forests and on mountain passes — are witness to an enormous expenditure of labor and resources to turn the landscape into a site of what was called “monumental propaganda.” The Albanian Lapidar Survey aimed to capture these monuments as fact.The results of this project are collected into a three-volume, dual-language (English and Albanian) catalogue, under the title Lapidari. The first volume comprises a series of critical reflections on Albanian monumentality of the period 1945–1990 from a variety of perspectives, as well as historical documents and a full indexation of all inscriptions found on the documented monuments. Volume 2 and Volume 3 feature the photographic documentation of all 649 recorded monumental sites by photographer Marco Mazzi. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acommunism =653 \\$aAlbania =653 \\$apublic art =653 \\$amonumentality =653 \\$asocialism =653 \\$apolitical history =653 \\$aphotography =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of Aberdeen.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aMazzi, Marco,$ephotographer. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0092.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0092.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02990nam 22004212 4500 =001 8377c394-c27a-44cb-98f5-5e5b789ad7b8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615719467$q(Paperback) =024 7\$a10.21983/P3.0012.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAPFA$2bicssc =072 7$aART057000$2bisacsh =100 1\$aMartin, Adrian,$eauthor.$uMonash University. =245 10$aLast Day Every Day :$bFigural Thinking from Auerbach and Kracauer to Agamben and Brenez /$cAdrian Martin. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (54 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhere is film analysis at today? What is cinema theory up to, behind our backs? The field, as professionally defined (at least in the Anglo-American academic world), is presently divided between contextual historians who turn to broad formations of modernity, and stylistic connoisseurs who call for a return to old-fashioned things like authorial vision, tone, and mise en scène. But there are other, vital, inventive currents happening — in criticism, on the Internet, in small magazines, and renegade conferences everywhere — which we are not hearing much about in any official way. Last Day Every Day shines a light on one of these exciting new avenues.Is there a way to bring together, in a refreshed manner, textual logic, hermeneutic interpretation, theoretical speculation, and socio-political history? A way to break the deadlock between classical approaches that sought organic coherence in film works, and poststructuralist approaches that exposed the heterogeneity of all texts and scattered the pieces to the four winds? A way to attend to the minute materiality of cinema, while grasping and contesting the histories imbricated in every image and sound? =536 \\$aUniversity of Lisbon =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afilm studies =653 \\$aEric Auerbach =653 \\$aSiegfried Kracauer =653 \\$aNicole Brenez =653 \\$aDouglas Sirk =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0012.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0012.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02682nam 22004692 4500 =001 c3d008a2-b357-4886-acc4-a2c77f1749ee =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021941106 =020 \\$z9781953035660$q(Paperback) =020 \\$a9781953035677$q(PDF) =024 7\$a10.53288/0363.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC002000$2bisacsh =072 7$aFIC057000$2bisacsh =100 1\$aDoruff, Sher,$eauthor.$uAmsterdam University of the Arts. =245 10$aLast Year at Betty and Bob's :$bAn Actual Occasion /$cSher Doruff. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (244 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aLast Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking.An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aprimary colors =653 \\$atranshumanism =653 \\$afiction =653 \\$aconsumerism =653 \\$afeminism =653 \\$aart collective =653 \\$aartistic research =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0363.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0363.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02982nam 22004692 4500 =001 781b77bd-edf8-4688-937d-cc7cc47de89f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018963382 =020 \\$z9781947447912$q(Paperback) =020 \\$a9781947447929$q(PDF) =024 7\$a10.21983/P3.0234.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC002000$2bisacsh =072 7$aFIC057000$2bisacsh =100 1\$aDoruff, Sher,$eauthor.$uAmsterdam University of the Arts. =245 10$aLast Year at Betty and Bob's :$bAn Adventure /$cSher Doruff. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (212 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aLast Year at Betty and Bob’s: An Adventure is the second in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB red, is fashioned by thinking through the felt unthought of this between space — a fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders, and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In An Adventure, a feral feminist artist collective, The Bettys, inhabit a timeless Arcades Project. This is their experiment in wild hypo-consumerism. The event of Red Betty’s fall generates the advent of a turn. A cleaving. The intra-play of personal politics and activist artistic practices is surreally suffused with attention to color, to life and death, to lightness and heaviness. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aprimary colors =653 \\$atranshumanism =653 \\$afiction =653 \\$aconsumerism =653 \\$afeminism =653 \\$aart collective =653 \\$aartistic research =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0234.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0234.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02976nam 22004692 4500 =001 ce38f309-4438-479f-bd1c-b3690dbd7d8d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018953766 =020 \\$z9781947447790$q(Paperback) =020 \\$a9781947447806$q(PDF) =024 7\$a10.21983/P3.0233.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC057000$2bisacsh =072 7$aFIC002000$2bisacsh =100 1\$aDoruff, Sher,$eauthor.$uAmsterdam University of the Arts. =245 10$aLast Year at Betty and Bob's :$bA Novelty /$cSher Doruff. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (172 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aLast Year at Betty and Bob’s: A Novelty is the first in a series of novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. A storyline, or genealogy, tinted a shade of RGB blue, is fashioned by thinking through the felt unthought of this between space. A fabulation, an anarchive of what passes through. Lucid dreaming of this type is rife with allusions to conceptual and material goings-on, manifesting in awkward imaginaries. The dream personas are rendered as complex character amalgams with nomadic ages, sexes, genders and phenotypes. Occurrences of lived “fact” elide with a hallucinatory real as speculation.In A Novelty, Bette B, an ageing quasi-academic artist researcher, and BØB, attuned urban rodent, are palindromic variants of a generic cast of Betty’s and Bob’s. The happenstance of their meeting on the super slick POMOC (PostOffice MotionCorridor) affects a trans-special contagion. These are the facts of the matter. The matters that come to concern both B’s are more slippery and elusive. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aprimary colors =653 \\$atranshumanism =653 \\$afiction =653 \\$aconsumerism =653 \\$afeminism =653 \\$aart collective =653 \\$aartistic research =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0233.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0233.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 01477nam 22003612 4500 =001 08788fe1-c17d-4f6b-aeab-c81aa3036940 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692356616$q(Paperback) =024 7\$a10.21983/P3.0084.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =100 1\$aScholssman, Beryl,$eauthor. =245 10$aLeft Bank Dream /$cBeryl Scholssman. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (46 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afiction =653 \\$aParis =653 \\$aromance =653 \\$aBaudelaire =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0084.1.00$zConnect to e-book =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03164nam 22004332 4500 =001 b4d68a6d-01fb-48f1-9f64-1fcdaaf1cdfd =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615600468$q(Paperback) =024 7\$a10.21983/P3.0017.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI040000$2bisacsh =245 00$aLeper Creativity :$bCyclonopedia Symposium /$cedited by Edward Keller, Nicola Masciandaro, Eugene Thacker. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (310 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEssays, articles, artworks, and documents taken from and inspired by the symposium on Reza Negarestani’s Cyclonopedia: Complicity with Anonymous Materials, which took place in March 2011 at The New School. Hailed by novelists, philosophers, artists, cinematographers, and designers, Cyclonopedia is a key work in the emerging domains of speculative realism and theory-fiction. The text has attracted a wide-ranging and interdisciplinary audience, provoking vital debate around the relationship between philosophy, geopolitics, geophysics, and art. At once a work of speculative theology, a political samizdat, and a philosophic grimoire, Cyclonopedia is a Deleuzo-Lovecraftian middle-eastern Odyssey populated by archeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, and the corpses of ancient gods. Playing out the book’s own theory of creativity – “a confusion in which no straight line can be traced or drawn between creator and created – original inauthenticity” – this multidimensional collection both faithfully interprets the text and realizes it as a loving, perforated host of fresh heresies. The volume includes an incisive contribution from the author explicating a key figure of the novel: the cyclone. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aReza Negarestani =653 \\$atheory-fiction =653 \\$aspeculative realism =653 \\$apetropolitics =653 \\$aCyclonopedia =700 1\$aKeller, Edward,$eeditor.$uParsons School of Design. =700 1\$aMasciandaro, Nicola,$eeditor.$uBrooklyn College. =700 1\$aThacker, Eugene,$eeditor.$uNew School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0017.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0017.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03951nam 22004932 4500 =001 1809f10a-d0e3-4481-8f96-cca7f240d656 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022939551 =020 \\$z9781685710422$q(Paperback) =020 \\$a9781685710439$q(PDF) =024 7\$a10.53288/0358.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPWF$2bicssc =072 7$aHPS$2bicssc =072 7$aPHI019000$2bisacsh =072 7$aPOL035000$2bisacsh =072 7$aJPWG$2thema =072 7$aQDTS$2thema =100 1\$aSarbanes, Janet,$eauthor.$uCalifornia Institute of the Arts.$0(orcid)0000000332797264$1https://orcid.org/0000-0003-3279-7264 =245 10$aLetters on the Autonomy Project /$cJanet Sarbanes. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (198 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Project understands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aautonomy =653 \\$aart =653 \\$apraxis =653 \\$apolitics =653 \\$apedagogy =653 \\$aCornelius Castoriadis =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0358.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0358.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03656nam 22005532 4500 =001 00e012c5-9232-472c-bd8b-8ca4ea6d1275 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021933929 =020 \\$z9781953035417$q(Paperback) =020 \\$a9781953035424$q(PDF) =024 7\$a10.21983/P3.0322.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a2GDC$2bicssc =072 7$aPOE009010$2bisacsh =072 7$a2GDC$2thema =072 7$aDCF$2thema =072 7$aDSC$2thema =100 1\$aSmith, Kidder,$eauthor, translator.$uBowdoin College. =245 10$aLi Bo Unkempt /$cKidder Smith; translated by Kidder Smith, Mike Zhai. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (500 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis is Li Bo. You may also know him as Li Po 李白 (701–62), the great poet of Tang China, master of swoop and soar, wanderer, man of wine, so enamored of the moon that he tried to embrace her reflection in the river, fell from his boat and drowned. Favorite of the Emperor—but only for a while, as such energies cannot be long contained at Court.Li Bo Unkempt presents seventy of his verses, a few letters, some rhapsodies and songs. They dance all through Tang high culture, inhabited by planets, hermit women, swashbucklers, grottos, calligraphers and buffoons, Li Bo’s friends, lovers and alter egos. He’s too shy, too quick to make introductions, but this volume allows us to hear the poetry's stories, their temperaments, to glimpse their secret economies of exchange. The book also offers background material, brief essays, a kind of Lonely Planet™ guidebook to this extraordinary realm. This way the strange will become familiar, and only then can we appreciate how truly strange it is.The authors and translators regard these poems as magical acts. What is offered, then, in this volume, are multiple ways to realize that magic. The essays are demonstrations, a spell-book, an extension of this non-ordinary knowing. Things too delicate to be said directly. So the book proceeds by analogy, by juxtaposition, latency, innuendo, jump cuts, dialetheia and flirt. All this a way to understand a deeper claim: that Li Bo is an immortal.And what might that be...? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aChinese literature =653 \\$aDSC =653 \\$aTang poetry =653 \\$aDCF =653 \\$atranslation =653 \\$aLi Po =653 \\$aTaoism =653 \\$aeffulgence =653 \\$aexperimental writing =700 1\$aZhai, Mike,$etranslator.$uUniversity of Michigan–Ann Arbor. =700 1\$aYeshe Dorje, Traktung,$eafterword by. =700 1\$aDolgenas, Maria,$eafterword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0322.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0322.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03582nam 22005532 4500 =001 7145c373-a655-4d83-bfa2-9cdfae8184b9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024933283 =020 \\$z9781685711269$q(Paperback) =020 \\$a9781685711276$q(PDF) =024 7\$a10.53288/0469.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFE2$2bicssc =072 7$aAPFA$2bicssc =072 7$aSOC060000$2bisacsh =072 7$aART057000$2bisacsh =072 7$aJBFK2$2thema =072 7$aDNBL1$2thema =072 7$aJBSF1$2thema =072 7$aDNXZ$2thema =100 1\$aSamblanet, Lauren,$eauthor. =245 10$alike a dog /$clauren samblanet. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (148 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aTaking its cues from the New Narrative writing movement, like a dog considers how sexual identity is morphed, hidden, and denied by cultural forces like film, pornography, rape culture, and sexual semiotics. The speaker of like a dog writes about her sexuality, sexual trauma, and relationships in the epistolary form to explore how the personal becomes collective and how overt sexuality is necessary for questioning dominant ideologies. The intimacy (or perhaps voyeurism) that is opened through the epistolary form is balanced with commentary on the films of Lars von Trier, primarily Nymphomaniac, as a way to move away from the speaker’s experiences and into the larger social forces that seek to define us.Amidst these letters are images from a handwritten journal where blood, hair, vaginal fluids, and other bodily residues are used to direct the shape and content of the writing surrounding them. The tactility of the journal delivers the reader to the body, not as an intellectualized object, but as the physical, messy, oozing force that it is.Neither fiction nor nonfiction, and inhabiting a realm between gossip and scholarly film analysis, like a dog exists in a liminal zone that offers the speaker a site to rip away the layers of cultural conditioning surrounding sexuality and relationships, and to peek at what lies beneath. This interrogation of identity may not lead to answers but the speaker of like a dog is able to finally hear her own voice and to begin the work of rebuilding an identity that blooms from within. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$asexuality =653 \\$aepistolary =653 \\$anew narrative =653 \\$asexual assault =653 \\$ahealing =653 \\$afilm studies =653 \\$arelationships =653 \\$aLars von Trier =653 \\$agender studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0469.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0469.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04179nam 22005052 4500 =001 1e0c7c29-dcd4-470d-b3ee-8c4012ac79dd =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019935887 =020 \\$z9781950192175$q(Paperback) =020 \\$a9781950192182$q(PDF) =024 7\$a10.21983/P3.0246.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPJ$2bicssc =072 7$aPSD$2bicssc =072 7$aARC009000$2bisacsh =072 7$aQDTJ$2thema =072 7$aPSD$2thema =100 1\$aArmstrong, Rachel,$eauthor.$uNewcastle University.$0(orcid)0000000235166815$1https://orcid.org/0000-0002-3516-6815 =245 10$aLiquid Life :$bOn Non-Linear Materiality /$cRachel Armstrong. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (600 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIf we lived in a liquid world, the concept of a "machine" would make no sense. Liquid life is metaphor and apparatus that discusses the consequences of thinking, working, and living through liquids. It is an irreducible, paradoxical, parallel, planetary-scale material condition, unevenly distributed spatially, but temporally continuous. It is what remains when logical explanations can no longer account for the experiences that we recognize as part of "being alive."Liquid Life references a third-millennial understanding of matter that seeks to restore the agency of the liquid soul for an ecological era, which has been banished by reductionist, "brute" materialist discourses and mechanical models of life. Offering an alternative worldview of the living realm through a "new materialist" and "liquid" study of matter, Armstrong conjures forth examples of creatures that do not obey mechanistic concepts like predictability, efficiency, and rationality. With the advent of molecular science, an increasingly persuasive ontology of liquid technologies can be identified. Through the lens of lifelike dynamic droplets, the agency for these systems exists at the interfaces between different fields of matter/energy that respond to highly local effects, with no need for a central organizing system.Liquid Life seeks an alternative partnership between humanity and the natural world. It provokes a re-invention of the languages of the living realm to open up alternative spaces for exploration, including contributor Rolf Hughes’ "angelology" of language, which explores the transformative invocations of prose poetry, and Simone Ferracina’s graphical notations that help shape our concepts of metabolism, upcycling, and designing with fluids. A conceptual and practical toolset for thinking and designing, liquid life reunites us with the irreducible "soul substance" of living things, which will neither be simply "solved," nor go away. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adesign theory =653 \\$asoft architecture =653 \\$aangelology. materialism =653 \\$aecology =653 \\$amolecular science =653 \\$abiology =700 1\$aFerracina, Simone,$eauthor.$uEuropean Graduate School.$0(orcid)0000000175336471$1https://orcid.org/0000-0001-7533-6471 =700 1\$aHughes, Rolf,$eauthor.$0(orcid)0000000219112745$1https://orcid.org/0000-0002-1911-2745 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0246.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0246.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02369nam 22004572 4500 =001 11374c79-b2b1-464e-95c7-94aec6f24099 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024937831 =020 \\$z9781685712105$q(Paperback) =020 \\$a9781685712112$q(PDF) =024 7\$a10.53288/0511.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aPOE005010$2bisacsh =072 7$aPOE024000$2bisacsh =072 7$aDCF$2thema =072 7$aDCC$2thema =100 1\$aRosenfield, Kim,$eauthor. =245 10$aLividity /$cKim Rosenfield. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (178 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Lividity, poet Kim Rosenfield works within the outskirts of language, draining it of connotation and excess. Using words and phrases culled from linguistics textbooks and language-learning manuals, Rosenfield invites the reader to experience the everyday vernacular as dislocated affect. What happens when language acts as organ donor? When language, the conveyor of our vulnerability, is transposed into new and often failing terrain? Are expressions of meaning vital enough to keep the organism functioning? What happens when meaning loses its moorings? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aconceptual writing =653 \\$alanguage =653 \\$apoetry =653 \\$aevidence =700 1\$aLow, Trisha,$eintroduction by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0511.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0511.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03636nam 22005292 4500 =001 534c3d13-b18b-4be5-91e6-768c0cf09361 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023934594 =020 \\$z9781685710828$q(Paperback) =020 \\$a9781685710835$q(PDF) =024 7\$a10.53288/0361.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJHMC$2bicssc =072 7$aJFHF$2bicssc =072 7$aSOC002010$2bisacsh =072 7$aFIC009120$2bisacsh =072 7$aJHMC$2thema =072 7$aVXQM$2thema =072 7$aJBGB$2thema =245 00$aLiving with Monsters :$bEthnographic Fiction about Real Monsters /$cedited by Yasmine Musharbash, Ilana Gershon. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (318 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFor every generic type of monster—ghost, demon, vampire, dragon—there are countless locally specific manifestations, with their own names, traits, and appearances. Such monsters populate all corners of the globe haunting their humans wherever they live. Living with Monsters is a collection of fourteen short pieces of ethnographic fiction (and a more academically inclined introduction and afterword) presenting a playful, spirited, and engaging look at how people live with their respective monsters around the world. They focus on the nitty-gritty dos and don’ts of how to placate spirits in India; how to domesticate Georgian goblins, how to live with aliens, how to avoid being taken by Anito in Taiwan, while simultaneously illuminating the politics of monster–human relations.In this collection, anthropologists working in fieldsites as diverse as the urban Ghana, the rural US, remote Aboriginal Australia, and the internet present imaginative accounts that demonstrate how thinking with monsters encourages people to contemplate difference, to understand inequality, and to see the world from new angles. Combine monsters with experimental ethnography, and the result is a volume that crackles with creative energy, flouts traditions of ethnographic writing, and pushes anthropology into new terrains. =536 \\$aAustralian Research Council$cFT13010041$eFuture Fellowship =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aethnographic fiction =653 \\$amonsters =653 \\$ateratology =653 \\$ahuman–monster relations =653 \\$aanthropology =653 \\$athe otherwise =700 1\$aMusharbash, Yasmine,$eeditor.$uAustralian National University.$0(orcid)0000000157009047$1https://orcid.org/0000-0001-5700-9047 =700 1\$aGershon, Ilana,$eeditor.$uRice University.$0(orcid)0000000304470694$1https://orcid.org/0000-0003-0447-0694 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0361.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0361.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04403nam 22005172 4500 =001 636a5aa6-1d37-4cd2-8742-4dcad8c67e0c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020947355 =020 \\$z9781953035141$q(Paperback) =020 \\$a9781953035158$q(PDF) =024 7\$a10.21983/P3.0297.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBGF$2bicssc =072 7$aJFSK2$2bicssc =072 7$aMJCJ2$2bicssc =072 7$aBIO004000$2bisacsh =072 7$aSOC012000$2bisacsh =072 7$aDNBF$2thema =072 7$aJBSJ$2thema =072 7$a5PSG$2thema =072 7$aMJCJ2$2thema =100 1\$aJones, Matthew J. ,$eauthor.$0(orcid)0000000297076655$1https://orcid.org/0000-0002-9707-6655 =245 10$aLove Don't Need a Reason :$bThe Life & Music of Michael Callen /$cMatthew J. Jones. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (372 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFrom a stage erected in front of the US Capitol, on April 25, 1993, Michael Callen surveyed the throng: an estimated one million people stretched across the National Mall in the largest public demonstration of queer political solidarity in history. “What a sight,” he told the crowd, his earnest Midwestern twang reverberating through loudspeakers. “You’re a sight for sore eyes. Being gay is the greatest gift I have ever been given, and I don’t care who knows about it.” He then launched into a gorgeous rendition of “Love Don’t Need a Reason,” the AIDS anthem he composed with Marsha Malamet and the late Peter Allen. As Callen finished singing, people stood cheering and flashing the familiar American Sign Language symbol for “I Love You.” For they knew the song’s sentiment rang true for Callen, who had recently announced his retirement from music and activism after a living for more than a decade with what was then called “full-blown AIDS.” After the March on Washington, Callen returned to his recently adopted West Coast home, Los Angeles. In the ensuing months, his health rapidly declined, and on 27 December 1993, Callen died of AIDS-related pulmonary Kaposi’s sarcoma.Love Don’t Need a Reason focuses on Callen’s most important and lasting legacy: his music. A witness to the overlooked last years of Gay Liberation and a major figure in the early years of the AIDS crisis, Michael Callen chronicled these experiences in song. A community organizer, activist, author, and architect of the AIDS self-empowerment movement, he literally changed the way we have sex in an epidemic when he co-authored one of the first safe-sex guides in 1983. A gifted singer, songwriter, and performer, he also made gay music for gay people and used music to educate and empower people with AIDS. Listening again to his music allows us to hear the shifting dynamics of American families, changing notions of masculinity, gay migration to urban areas, the sexual politics of Gay Liberation, and HIV/AIDS activism. Using extensive archival materials and newly-conducted oral history interviews with Callen’s friends, family, and fellow musicians, Matthew J. Jones reintroduces Callen to the history of LGBTQIA+ music and places Callen’s music at the center of his important activist work. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aMichael Callen =653 \\$aHIV/AIDS =653 \\$aPopular Music =653 \\$aLGBTQ History =653 \\$aLGBTQ Activism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0297.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0297.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03249nam 22004212 4500 =001 6dcf29ea-76c1-4121-ad7f-2341574c45fe =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017951816 =020 \\$z9781947447127$q(Paperback) =020 \\$a9781947447134$q(PDF) =024 7\$a10.21983/P3.0177.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aSOC004000$2bisacsh =100 1\$aJoyce, Laura E.,$eauthor.$uUniversity of East Anglia. =245 10$aLuminol Theory /$cLaura E. Joyce. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (138 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aRepresentations of forensic procedures saturate popular culture in both fiction and true crime. One of the most striking forensic tools used in these narratives is the chemical luminol, so named because it glows an eerie greenish-blue when it comes into contact with the tiniest drops of human blood.Luminol is a deeply ambivalent object: it is both a tool of the police, historically abused and misappropriated, and yet it offers hope to families of victims by allowing hidden crimes to surface. Forensic enquiry can exonerate those falsely accused of crimes, and yet the rise of forensic science is synonymous with the development of the deeply racist ‘science’ of eugenics.Luminol Theory investigates the possibility of using a tool of the state in subversive, or radical, ways. By introducing luminol as an agent of forensic inquiry, Luminol Theory approaches the exploratory stages that a crime scene investigation might take, exploring experimental literature as though these texts were ‘crime scenes’ in order to discover what this deeply strange object can tell us about crime, death, and history, to make visible violent crimes, and to offer a tangible encounter with death and finitude. At the luminol-drenched crime scene, flashes of illumination throw up words, sentences, and fragments that offer luminous, strange glimpses, bobbing up from below their polished surfaces. When luminol shines its light, it reveals, it is magical, it is prescient, and it has a nasty allure =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acriminology =653 \\$acrime studies =653 \\$aforensic anthropology =653 \\$ahorror =653 \\$atrue crime =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0177.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0177.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03527nam 22004212 4500 =001 ed96eea8-82c6-46c5-a19b-dad5e45962c6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780988234048$q(Paperback) =024 7\$a10.21983/P3.0136.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI019000$2bisacsh =100 1\$aBiddick, Kathleen,$eauthor.$uTemple University. =245 10$aMake and Let Die :$bUntimely Sovereignties /$cKathleen Biddick. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (258 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis collection of essays by one of medieval studies’ most brilliant historians argues that the analysis and critique of biopower, as conventionally defined by Michel Foucault and then widely assumed in much contemporary theory of sovereignty, is a sovereign mode of temporalization caught up in the very time-machine it ostensibly seeks to expose and dismantle.For Michel Foucault, biopower (epitomized in his maxim “to make live and to let die”) is the defining sign of the modern, and he famously argued that the task of political philosophy was to cut off the head of the classical (premodern) sovereign, the one “who made die and let live.” Entrapped by his supersessionary thinking on the question, Foucault argued that the maxim of “to make live and let die” of modern sovereignty superseded a premodern sovereignty characterized by the contrasting power “to make die and let live.”The essays collected in Biddick’s book (some reprinted and some published here for the first time) argue that Foucault spoke too soon about the supposed “then” of the classical sovereign and the modern “now,” and this became painfully apparent in his analysis of Nazism in his later lectures, Society Must be Defended. There Foucault groped to articulate an anguishing paradox: How could it be that the Nazis, as the ultimate biopolitical sovereign machine, would insist on an archaic (premodern) mode of sovereignty in their death camps? Here is how he posed the question in that lecture: “How can the power of death, the function of death, be exercised in a political system centered upon biopower?” Foucault left this question hanging. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$abiopolitics =653 \\$amedieval history =653 \\$apolitical theology =653 \\$ahistoriography =653 \\$acriticial theory =700 1\$aJoy, Eileen A.,$epreface by.$0(orcid)0000000253093189$1https://orcid.org/0000-0002-5309-3189 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0136.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0136.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03421nam 22005292 4500 =001 aa9059ba-930c-4327-97a1-c8c7877332c1 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020942962 =020 \\$z9781953035035$q(Paperback) =020 \\$a9781953035042$q(PDF) =024 7\$a10.21983/P3.0295.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aANF$2bicssc =072 7$aGPS$2bicssc =072 7$aAJRH$2bicssc =072 7$aPER011010$2bisacsh =072 7$aPER020000$2bisacsh =072 7$aATDF$2thema =072 7$aGPS$2thema =072 7$aAJTV$2thema =100 1\$aSpatz, Ben,$eauthor.$uUniversity of Huddersfield. =245 10$aMaking a Laboratory :$bDynamic Configurations with Transversal Video /$cBen Spatz. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (204 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMaking a Laboratory defines a new audiovisual embodied research method that short-circuits experimental practice and video recording to generate new kinds of data and documents. Overturning conventional hierarchies of knowledge, “Dynamic Configurations with Transversal Video” (DCTV) grounds both discursive and audiovisual knowledges within the space of embodied practice, synthesizing insights from historical epistemologist Hans-Jörg Rheinberger and philosopher of science Karen Barad to offer the first rigorous definition of laboratoriality outside a techno-scientific paradigm. In this concise book, nonbinary practitioner-researcher Ben Spatz situates the DCTV method in the context of artistic research and alongside emerging audiovisual methods in other fields, while highlighting its unique characteristics.Across six focused chapters, Making a Laboratory introduces DCTV as a queer feminist adaptation of Jerzy Grotowski’s “poor” theater laboratory and defines its core elements, drawing on a range of thinkers including Giorgio Agamben, Rebecca Schneider, and Hito Steyerl, in order to examine power, identity, and documentation in lab practice. Drawing from the ethical consent practices of the BDSM community, it lays the groundwork for a radical reinvention of audiovisuality from the perspective of embodiment — the audiovisual body. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJerzy Grotowski =653 \\$avideo =653 \\$aperformance arts =653 \\$aembodiment =653 \\$acinema =653 \\$aqueer studies =653 \\$aartistic research =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0295.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0295.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03315nam 22004452 4500 =001 003137ea-4fe6-470d-8bd3-f936ad065f3c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615766362$q(Paperback) =024 7\$a10.21983/P3.0014.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRBG$2bicssc =072 7$aART006010$2bisacsh =072 7$aAGC$2thema =072 7$aFXE$2thema =245 00$aMaking the Geologic Now :$bResponses to Material Conditions of Contemporary Life /$cedited by Elisabeth Ellsworth, Jamie Kruse. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (262 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMaking the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of “now.” Contributors’ ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer—as a partner in designing thoughts, objects, systems, and experiences.Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. As a condition of contemporary life in 2012, the geologic “now” is lived as a cascade of events. Humans and what we build participate in their unfolding. Today, and unlike the environmental movements of the 1970s, the geologic counts as “the environment” and invites us to extend our active awareness of inhabitation out to the cosmos and down to the Earth’s iron core. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ageology =653 \\$aantropocene =653 \\$aclimate change =653 \\$aecology studies =653 \\$ageo-philosophy =700 1\$aEllsworth, Elisabeth,$eeditor.$uNew School. =700 1\$aKruse, Jamie,$eeditor.$uParsons School of Design. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0014.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0014.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03443nam 22004692 4500 =001 35ed7096-8218-43d7-a572-6453c9892ed1 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017961281 =020 \\$z9781947447387$q(Paperback) =020 \\$a9781947447394$q(PDF) =024 7\$a10.21983/P3.0193.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJNA$2bicssc =072 7$aEDU040000$2bisacsh =245 00$aManifesto for a Post-Critical Pedagogy /$cedited by Naomi Hodgson, Joris Vlieghe, Piotr Zamojski. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (110 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe belief in the transformative potential of education has long underpinned critical educational theory. But its concerns have also been largely political and economic, using education as the means to achieve a better – or ideal – future state: of equality and social justice. Our concern is not whether such a state can be realized. Rather, the belief in the transformative potential of education leads us to start from the assumption of equality and to attend to what is “educational” about education.In Manifesto for a Post-Critical Pedagogy we set out five principles that call not for an education as a means to achieve a future state, but rather that make manifest those educational practices that do exist today and that we wish to defend. The Manifesto also acts as a provocation, as the starting point of a conversation about what this means for research, pedagogy, and our relation to our children, each other, and the world.Manifesto for a Post-Critical Pedagogy invites a shift from a critical pedagogy premised on revealing what is wrong with the world and using education to solve it, to an affirmative stance that acknowledges what is educational in our existing practices. It is focused on what we do and what we can do, if we approach education with love for the world and acknowledge that education is based on hope in the present, rather than on optimism for an eternally deferred future. =536 \\$aLiverpool Hope University =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aradical pedagogy =653 \\$aeducation =653 \\$acritical theory =653 \\$amanifesto =653 \\$aqueer optimism =700 1\$aHodgson, Naomi,$eeditor.$uLiverpool Hope University. =700 1\$aVlieghe, Joris,$eeditor.$uUniversity of Aberdeen. =700 1\$aZamojski, Piotr,$eeditor.$uLiverpool Hope University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0193.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0193.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03199nam 22004212 4500 =001 9e108419-fc08-440d-b1b5-eb8b5cd52c5e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780988234062$q(Paperback) =024 7\$a10.21983/P3.0100.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRNT$2bicssc =072 7$aNAT010000$2bisacsh =245 00$aManifesto for Living in the Anthropocene /$cedited by Katherine Gibson, Deborah Bird Rose, Ruth Fincher. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (182 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe recent 10,000 year history of climatic stability on Earth that enabled the rise of agriculture and domestication, the growth of cities, numerous technological revolutions, and the emergence of modernity is now over. We accept that in the latest phase of this era, modernity is unmaking the stability that enabled its emergence. Over the 21st century severe and numerous weather disasters, scarcity of key resources, major changes in environments, enormous rates of extinction, and other forces that threaten life are set to increase. But we are deeply worried that current responses to these challenges are focused on market-driven solutions and thus have the potential to further endanger our collective commons. Today public debate is polarized. On one hand we are confronted with the immobilizing effects of knowing “the facts” about climate change. On the other we see a powerful will to ignorance and the effects of a pernicious collaboration between climate change skeptics and industry stakeholders. Clearly, to us, the current crisis calls for new ways of thinking and producing knowledge. Our collective inclination has been to go on in an experimental and exploratory mode, in which we refuse to foreclose on options or jump too quickly to “solutions.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$aecology =653 \\$aenvironmental humanities =653 \\$aclimate change =700 1\$aGibson, Katherine,$eeditor.$uWestern Sydney University. =700 1\$aRose, Deborah Bird,$eeditor.$uAcademy of the Social Sciences in Australia. =700 1\$aFincher, Ruth,$eeditor.$uUniversity of Melbourne. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0100.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0100.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03441nam 22005412 4500 =001 64ac7d98-d8bd-41e7-a661-bef4f090b439 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024936120 =020 \\$z9781685711429$q(Paperback) =020 \\$a9781685711436$q(PDF) =024 7\$a10.53288/0453.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAFKC$2bicssc =072 7$aJFC$2bicssc =072 7$aPER011020$2bisacsh =072 7$aART060000$2bisacsh =072 7$aAFKC$2thema =072 7$aJBCC3$2thema =072 7$aQRRT$2thema =100 1\$aGellar-Goad, T.H.M.,$eauthor.$uWake Forest University.$0(orcid)000000018266465X$1https://orcid.org/0000-0001-8266-465X =245 10$aMasks /$cT.H.M. Gellar-Goad. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (228 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe mask is the classic disguise. But as alter ego, it reveals as much as it conceals. Why are masks so often creepy, even outside of horror movies? Can a mask change expression while you’re wearing it? How much of someone’s self can inhabit a mask? Why would anyone make a plaster cast of a dead person’s face? And, really, who was that masked man? Masks unmasks the answers to these frequently (m)asked questions and more.Masks are the materials for a world of make-believe, from the theater to Halloween, from masquerades to Scooby-Doo. Masks can take on magic or ritual powers. They can preserve and transmit memory. Masks are a makeover tool for appearance and identity, from spa treatments to drag to superheroes. What all these different functions have in common is the mask as physical metaphor, a mirror of the self and society. In another layer of metaphor, our words for ourselves as individuals (“person”) and for our self-presentation to society (“persona”) both derive directly from the Latin word for mask.Masks explores one of humanity’s oldest cultural objects, traveling from prehistoric remains to ancient Roman funeral processions to Mardi Gras to masked doppelgangers on stage and screen. Its examination of masks across time and the globe sheds new light on the totemic power masks have developed, especially during the COVID-19 pandemic. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amasks =653 \\$acultural studies =653 \\$amemory =653 \\$amagic =653 \\$aritual =653 \\$aCOVID-19 =653 \\$aidentity =653 \\$ametamorphosis =653 \\$apersona =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0453.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0453.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04172nam 22004812 4500 =001 5f1db605-88b6-427a-84cb-ce2fcf0f89a3 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\por\d =010 \\$a2019948497 =020 \\$z9781950192458$q(Paperback) =020 \\$a9781950192465$q(PDF) =024 7\$a10.21983/P3.0264.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$apor$heng =072 7$aDSBH$2bicssc =072 7$aLIT004100$2bisacsh =072 7$aDSBH$2thema =100 1\$aBasile, Jonathan,$eauthor.$uEmory University. =245 10$aMassa por Argamassa :$bA "Libraria de Babel" e o Sonho de Totalidade /$cJonathan Basile; translated by Yuri N. Martinez Laskowski. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (114 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMassa por Argamassa apresenta uma exploração profunda de um dos maiores ilusionistas da literatura, Jorge Luis Borges. Seu conto “A Biblioteca de Babel” é um exemplar ilustre de sua capacidade lúdica, embora não somente devido ao mundo invertido que nele é imaginado, no qual uma biblioteca, que supostamente contém todas as combinações possíveis de todas as letras, palavras e livros, é vasculhada por bibliotecários devotos em busca de verdades divinamente pré-fabricadas. Pois também é preciso lidar com a ironia da narração de Borges, que constantemente põe em xeque as afirmações do narrador sobre a universalidade da biblioteca, incluindo a própria possibilidade de exaurir os significados possíveis através de um processo combinatório.Borges direcionava seus leitores para sua obra de não-ficção para que descobrissem o verdadeiro autor da ideia da biblioteca universal. Mas seus ensaios supostamente históricos são notoriamente repletos de referências falsas e contradições. Seja na verdade ou na ficção, Borges nunca atinge uma conclusão estável sobre as premissas atomistas da biblioteca universal – seria possível encontrar um conjunto de caracteres capaz de expressar todo o significado possível, ou estariam essas letras, assim como suas histórias e ensaios, se multiplicando e dividindo em uma incompletude incansável?Embora muitos leitores de Borges o veem como um presságio de nossas tecnologias digitais, eles muitas vezes dão crédito demais a nossas invenções ao fazê-lo. Aqueles que elidem a necessária incompletude da Biblioteca de Babel a comparam com a Internet, assumindo que ambos seriam arquivos totais de todo o pensamento e expressão possíveis. Embora as imaginações de Borges tenham contribuído para a criatividade digital (libraryofbabel.info é certamente uma evidência disto), elas o fazem demonstrando a necessária incompletude de todos os projetos totalizadores, independentemente de seu refino tecnológico. No final, Basile guia os leitores em direção à ideia de que uma exposição fictícia/imaginária possui certo poder sobre a tecnologia. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aLibrary of Babel =653 \\$aJorge Luis Borges =653 \\$atechnology =653 \\$alibrarianship =653 \\$adigital humanities =653 \\$aliterary studies =700 1\$aMartinez Laskowski, Yuri N.,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0264.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0264.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03125nam 22004932 4500 =001 0862d673-39ec-4103-8a6b-66a936b14435 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019937768 =020 \\$z9781950192212$q(Paperback) =020 \\$a9781950192229$q(PDF) =024 7\$a10.21983/P3.0251.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =072 7$aLIT000000$2bisacsh =072 7$aGBCQ$2thema =072 7$aDNL$2thema =100 1\$aChrostowska, S.D.,$eauthor.$uYork University. =245 10$aMatches :$bA Light Book /$cS.D. Chrostowska. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (560 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThrough the prism of criticism, the modalities of thinking form a spectrum: on one end, systematic exposition, on the other, the fragment. It is the latter, fragmentary approach that distinguishes Matches—an investigation that does not focus on a single theme developed in all its aspects but, rather, on a constellation of themes in art, literature, philosophy, science, social and political thought, as well as the human in relation to history and nature. The author pursues here in performative fashion her research into the history of critique from the Enlightenment onward. Her choice of the fragment—in the tradition of writing represented by Gracián, Chamfort, Lichtenberg, and, closer to us, Nietzsche, Adorno, and Benjamin—does not, however, stem from an attempt to comprehend the contemporary world, which can only be done after the fact. Instead, served by an expressive and incisive style, Matches foregrounds the necessary elements for a critique of our time, capturing them in their contradictory and complementary relations. It situates itself under the sign of the future, reviving the spirit of utopia, reminding us that the last word need not belong to the present. =536 \\$aYork University =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aaphorisms =653 \\$aepigrams =653 \\$amaxims =653 \\$ameditations =653 \\$asketches =700 1\$aKluge, Alexander,$eforeword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0251.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0251.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02540nam 22003852 4500 =001 680b88e2-8685-4d13-806d-b274a7b1afe6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692540732$q(Paperback) =024 7\$a10.21983/P3.0119.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =100 1\$aChrostowska, S.D.,$eauthor.$uYork University. =245 10$aMatches :$bA Light Book /$cS.D. Chrostowska. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (538 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIt takes any number of forms. Epigrams. Aphorisms. Fragments. Sayings. Dicta. Sententiae. Facetiae. Pearls of wisdom. Fractions of truth. Maxims. Definitions. Jottings. Miscellaneous musings. Meditations. Ricordi. Pensées. Ephemera. Miniatures. Sketches. Vignettes. Denkbilder. Capriccios. Tiny ‘fires without flames’ …In returning to these genres, MATCHES goes back to the drawing board of modern critique. It sets out to rekindle short-form literary-philosophical reflection, with roots in the Antiquity of Heraclitus and Hippocrates, apogee in the French moralistes (La Rochefoucauld, Pascal, Chamfort … ), and late splendour in German letters (Nietzsche, Kraus, Jünger … ). Moving from art and aesthetics to philosophies past and present, through natural and technological landscapes, beneath the constellations of politics, history and ethics, along the byways of contemporary literary culture — the slow reader with a little spare time will not fail to be struck. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aaphorisms =653 \\$aepigrams =653 \\$amaxims =653 \\$ameditations =653 \\$asketches =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0119.1.00$zConnect to e-book =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05143nam 22004572 4500 =001 c5b21f1e-990e-4d24-a0da-40cac057b175 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017957481 =020 \\$z9781947447325$q(Paperback) =020 \\$a9781947447332$q(PDF) =024 7\$a10.21983/P3.0194.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aSOC064000$2bisacsh =072 7$aREL033000$2bisacsh =072 7$aJBSJ$2thema =245 00$aMeaningful Flesh :$bReflections on Religion and Nature for a Queer Planet /$cedited by Whitney A. Bauman. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (152 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aReligion is much queerer than we ever imagined. Nature is as well. These are the two basic insights that have led to this volume: the authors included here hope to queerly go where no thinkers have gone before. The combination of queer theory and religion has been happening for at least 25 years. People such as John Boswell began to examine the history of religious traditions with a queer eye, and soon after we had the indecent theology of Marcella Althaus Ried. Jay Johnston, one of the authors in this issue, is among those who have used the queer eye to interrogate authority within Christian theological traditions. At the same time, there have been many queer interrogations of “nature,” perhaps most notably in the works of Joan Roughgarden and Ann Fausto-Sterling, and more recently in the works of Catriona Sandilands and Timothy Morton (an author in this volume). However, the intersections of religion, nature, and queer theory have been largely left untouched. With the exception of Dan Spencer, who writes the introduction for this volume and is one of the early pioneers in this realm of thought with his book Gay and Gaia (Pilgrim Press, 1996), and the work of Greta Gaard in developing a queer ecofeminist thought, religion and nature, or religion and ecology, have largely ignored the realm of queer theory.In part, the blinders to queer theory on the part of eco-thinkers (religious or otherwise) are similar to the blinders eco-thinkers have when it comes to postmodern thought in general: namely, if there are no absolute foundations, how does one create an environmental ethic and a “nature” to save? For this reason and many others, this volume on religion, nature, and queer theory is groundbreaking. Though these essays span many different disciplines and themes, they are all held together by the triple focus on religion, nature, and queer theory.Each of these essays offers a unique contribution to the intersection of religion, nature, and queer theory, and all of them challenge strict boundaries proposed in religious rhetoric and many discourses surrounding “nature.” Carol Wayne White’s essay draws from a queer reading of James Baldwin to develop an African American religious naturalism, which highlights humans as polyamorous bastards. Jacob Erickson’s essay examines Isabella Rossellini’s “Green Porno” and Martin Luther’s work to develop an irreverent theology. Jay Johnson draws from personal relationships with his late dog, and Master/Pup fetish-play, to blur the boundaries between humans and other animals, specifically within ethical and theological discourse. Whitney Bauman reflects on how the very processes of globalization and climate change queer our identities and call for a queer and versatile planetary ethic. Finally, Timothy Morton leads us through a reflection on queer green sex toys to challenge the ontology of agrologistics. Each of these essays in their own way is concerned with fleshing out more meaningful encounters with the planetary community. Without being too ambitious, we hope that these sets of essays will help to open up a new trajectory of conversations at the intersection of religion, nature, and queer theory. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$areligion =653 \\$aqueer studies =653 \\$aecology =653 \\$acultural studies =653 \\$anew materialisms =700 1\$aBauman, Whitney A.,$eeditor.$uFlorida International University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0194.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0194.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03552nam 22004932 4500 =001 26d4676f-258c-4559-94d5-90bb4535070e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020934559 =020 \\$z9781950192731$q(Paperback) =020 \\$a9781950192748$q(PDF) =024 7\$a10.21983/P3.0276.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHBLC1$2bicssc =072 7$aJFFG$2bicssc =072 7$aLIT011000$2bisacsh =072 7$aNHDJ$2thema =072 7$aJBFM$2thema =245 00$aMedieval Disability Sourcebook :$bWestern Europe /$cedited by Cameron Hunt McNabb. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (500 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe field of disability studies significantly contributes to contemporary discussions of the marginalization of and social justice for individuals with disabilities. However, what of disability in the past? The Medieval Disability Sourcebook: Western Europe explores what medieval texts have to say about disability, both in their own time and for the present.This interdisciplinary volume on medieval Europe combines historical records, medical texts, and religious accounts of saints’ lives and miracles, as well as poetry, prose, drama, and manuscript images to demonstrate the varied and complicated attitudes medieval societies had about disability. Far from recording any monolithic understanding of disability in the Middle Ages, these contributions present a striking range of voices—to, from, and about those with disabilities—and such diversity only confirms how disability permeated (and permeates) every aspect of life.The Medieval Disability Sourcebook is designed for use inside the undergraduate or graduate classroom or by scholars interested in learning more about medieval Europe as it intersects with the field of disability studies. Most texts are presented in modern English, though some are preserved in Middle English and many are given in side-by-side translations for greater study. Each entry is prefaced with an academic introduction to disability within the text as well as a bibliography for further study. This sourcebook is the first in a proposed series focusing on disability in a wide range of premodern cultures, histories, and geographies. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adisability =653 \\$aMiddle Ages =653 \\$aaccessibility =653 \\$aliterary studies =653 \\$aidentity =653 \\$aembodiment =653 \\$aillness =700 1\$aMcNabb, Cameron Hunt,$eeditor.$uSoutheastern University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0276.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0276.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03532nam 22004692 4500 =001 2d522a5b-ecca-402f-8188-52c6100be235 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692352465$q(Paperback) =024 7\$a10.21983/P3.0088.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFD$2bicssc =072 7$aSOC052000$2bisacsh =072 7$aHIS037010$2bisacsh =072 7$aJBCT1$2thema =072 7$a3KL$2thema =100 1\$aKennedy, Kathleen E.,$eauthor.$uPennsylvania State University. =245 10$aMedieval Hackers /$cKathleen E. Kennedy. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (180 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMedieval Hackers calls attention to the use of certain vocabulary terms in the Middle Ages and today: commonness, openness, and freedom. Today we associate this language with computer hackers, some of whom believe that information, from literature to the code that makes up computer programs, should be much more accessible to the general public than it is. In the medieval past these same terms were used by translators of censored texts, including the bible. Only at times in history when texts of enormous cultural importance were kept out of circulation, including our own time, does this vocabulary emerge. Using sources from Anonymous’s Fawkes mask to William Tyndale’s Bible prefaces, Medieval Hackers demonstrates why we should watch for this language when it turns up in our media today. This is important work in media archaeology, for as Kennedy writes in this book, the “effluorescence of intellectual piracy” in our current moment of political and technological revolutions “cannot help but draw us to look back and see that the enforcement of intellectual property in the face of traditional information culture has occurred before….We have seen that despite the radically different stakes involved, in the late Middle Ages, law texts traced the same trajectory as religious texts. In the end, perhaps religious texts serve as cultural bellwethers for the health of the information commons in all areas. As unlikely as it might seem, we might consider seriously the import of an animatronic [John] Wyclif, gesturing us to follow him on a (potentially doomed) quest to preserve the information commons. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amedieval history =653 \\$ainformation commons =653 \\$ahacktivism =653 \\$amedia archeology =653 \\$aintellectual property =653 \\$amedia studies =653 \\$aRenaissance history =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0088.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0088.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03257nam 22004092 4500 =001 5fe37152-6263-4293-ac3d-9799585563a6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615808628$q(Paperback) =024 7\$a10.21983/P3.0028.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aBIO026000$2bisacsh =100 1\$aHollander, Benjamin,$eauthor.$uChabot College. =245 10$aMemoir American /$cBenjamin Hollander. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (70 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the dead letter office, you will find a Memoir American. The texts which comprise it — forms of essay, talk, dialogue — at one time saw themselves as individualists who went somewhere (to small press magazines) on their own. Now they are here, collected with the chance of going nowhere together. As it should be: since they represent the fate of language and translation in the memory of aliens living inside America — like a family going nowhere together, but at home.The philosopher Jacques Derrida and his family are part of this family in the dead letter office, and curiously they are named going nowhere together at home. Along the way, so are the poets Charles Reznikoff and William Carlos Williams and Emmanuel Hocquard and Juliette Valery and Charles Olson, as well as Horace’s Odes in translation.You will find in this Memoir what it means for an alien to search for his family in a book outside the time of its writing. You will find him discovering that translation is a personal story and that poetry might not have a home without it. You will find him wondering: whose voices are these which we hear around us as we write, as Babel turns to rumor through the fact of translation, wherein a book is being made and remade from American to French and back again? You will find him through translation like a Being in the Poetry of the Extraterritorial, an un-owned territory which is neither French nor American but is negotiated by the rumor of a poetry which emerges from both, a future condition (État) which seeks the name it could be but is not. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aIsrael =653 \\$aFrance =653 \\$atranslation =653 \\$amemoir =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0028.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0028.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02361nam 22004812 4500 =001 ebeae9d6-7543-4cd4-9fa9-c39c43ba0d4b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789491914041$q(Paperback) =024 7\$a10.21983/P3.0224.0.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$agrc =072 7$aDCF$2bicssc =072 7$aDCF$2bisacsh =072 7$aPOE005010$2bisacsh =072 7$a6EH$2bisacsh =072 7$aPOE021000$2bisacsh =072 7$a6CK$2bisacsh =072 7$a5PSG$2bisacsh =100 1\$aMelnick, David J.,$eauthor. =245 10$aMen in Aïda /$cDavid J. Melnick; translated by Sean Gurd. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (204 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDavid J. Melnick published the first book of Men in Aida, a homophonic, but also homoeroticized translation of Homer’s epic Iliad, in December 1983 in an edition of 450 at Tuumba Press. After appearing in many guises and fragments, Book Two was published online in 2002 as part of the Eclipse Archive. Book Three appears for the first time in the present publication, which brings together all three books of one of the most important American avant-garde poems. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aHomer =653 \\$aexperimental translation =653 \\$apoetry =653 \\$aIliad =700 1\$aGurd, Sean,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0224.0.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0224.0.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03292nam 22004812 4500 =001 e7a5ceb2-b1ad-4381-8fb2-2b3a409da406 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019940254 =020 \\$z9781950192250$q(Paperback) =020 \\$a9781950192267$q(PDF) =024 7\$a10.21983/P3.0253.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFC$2bicssc =072 7$aFIC003000$2bisacsh =072 7$aJBCC$2thema =072 7$aFD$2thema =100 1\$aNappi, Carla,$eauthor.$uUniversity of Pittsburgh. =245 10$aMetagestures /$cCarla Nappi, Dominic Pettman. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (232 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat kinds of knowledge and understandings of the world can be generated – and shared – when we use para-academic techniques and sensibilities to decode or respond to relatively orthodox intellectual objects? And what worlds might be possible if we practiced scholarly work from a place of collaboration and pleasure, as joyful fellow explorers?In Metagestures, presented in a playful tête-bêche format, historian Carla Nappi and cultural theorist Dominic Pettman explore the use of fiction as a tool to write and think with works of theory. Taking Vilém Flusser’s Gestures as its point of inspiration and departure, Metagestures collects 16 pairs of short stories in which Pettman and Nappi make fictional worlds that animate and enliven each of the major gestures in Flusser’s book. Nappi and Pettman focus on Flusser’s mediations on the gestures of filming, planting, loving, smoking a pipe, turning a mask around, and much more, with their own creative explorations of each theme, in a gathering of short fictions that test, expand, and further the social scientific claims of the original text with new scenarios and occasions. Here, Flusser’s reflections on physical gesture serve as an inspiration for new ways of conceiving and conducting theory, and for thoughtful creative scholarly imagining, with and alongside one another. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afiction. chirology =653 \\$aVliém Flusser =653 \\$aembodiment =653 \\$acultural theory =653 \\$areading =653 \\$aexperimental writing =700 1\$aPettman, Dominic,$eauthor.$uNew School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0253.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0253.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03429nam 22005652 4500 =001 ebf014ee-502d-4ed9-ad1e-90c3fcf20435 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023943269 =020 \\$z9781685711702$q(Paperback) =020 \\$a9781685711719$q(PDF) =024 7\$a10.53288/0396.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aPSG$2bicssc =072 7$aRNA$2bicssc =072 7$aNAT024000$2bisacsh =072 7$aSCI045000$2bisacsh =072 7$aPSG$2thema =072 7$aJPFA$2thema =072 7$aRNA$2thema =245 00$aMicrobium :$bThe Neglected Lives of Micro-matter /$cedited by Joela Jacobs, Agnes Malinowska. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (148 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMicrobium: The Neglected Lives of Micro-matter tells the story of small matter such as bacteria, coral, fungi, lichen, pollen, protozoa, and viruses. With short entries that are organized like a herbarium or similar specimen collection, the book is a “microbium”—both the term for a single microbe and a play on “microbiome.”As such, Microbium makes visible the often overseen but huge impact of miniscule matter on human culture and the environment. Each entry is a “microscopic reading” that describes the natural history and scientific discovery of a particular form of micro-matter, while also telling a story about the cultural and artistic roles it has played over the centuries. From the poetry of Emily Dickinson to the “coralness” of coral reefs to contemporary literature about the COVID-19 pandemic, this book places micro-matter under a cultural microscope and translates the significance of the invisible interspecies social realm to the human scale, magnifying the many ways in which micro-matter matters. Ultimately, Microbium shows the potential of micro-matter to teach us how to revitalize our political and cultural systems, habits of thought, and aesthetic or representational modes. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanimalcules =653 \\$abacteria =653 \\$amicrobiome =653 \\$amicrobiology =653 \\$aviruses =653 \\$afungi =653 \\$alichen =653 \\$aprotozoa =653 \\$apollen =653 \\$acoral =700 1\$aJacobs, Joela,$eeditor.$uUniversity of Arizona.$0(orcid)0000000322508879$1https://orcid.org/0000-0003-2250-8879 =700 1\$aMalinowska, Agnes,$eeditor.$uUniversity of Chicago. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0396.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0396.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03555nam 22005772 4500 =001 f1963ed9-1b8d-43f7-af89-ee589b6e7116 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\alb\d =010 \\$a2022934325 =020 \\$z9781685710743$q(Paperback) =020 \\$a9781685710750$q(PDF) =024 7\$a10.53288/0443.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aalb$aeng =072 7$a1DVWA$2bicssc =072 7$aAFKP$2bicssc =072 7$aAGC$2bicssc =072 7$aART006010$2bisacsh =072 7$aART060000$2bisacsh =072 7$a1DXA$2thema =072 7$aAFKP$2thema =072 7$aAGC$2thema =245 00$aMineral Policies /$cedited by Marko Stamenkoviç. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (112 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMineral Policies provides a record of an art residency organized by ZETA Center for Contemporary Art in the mining region of Bulqiza in northeastern Albania, where four artists and activists from Albania, Blerta Hoçia, Diana Malaj, Pleurad Xhafa, and Ergin Zaloshnja, created a collective body of works in close proximity with the local miners, while still maintaining their own discrete sphere of action. This residency followed by a public exhibition, Each Strike Leads to the Next, featuring video works produced during the residency as well as a series of object, curated by Vincent W.J. van Gerven Oei, director of the Department of Eagles in Tirana.This publication includes documentation of the residency and the exhibition, as well the record of a public discussion between curator Van Gerven Oei, former Minister of Finance Arben Malaj, mining engineer Genc Myftiu, and mining worker Bardhul Alla, moderated by cultural journalist Elsa Demo and an interview of cultural theorist Jonida Gashi and Van Gerven Oei with the artists.Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and align themselves with workers and labor activities within a political climate in which neoliberal extractivism and mafia-controlled local and national government have seriously compromised modes of solidarity and survival. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aart and politics =653 \\$aextractivism =653 \\$amining =653 \\$apublic art =653 \\$alabor issues =653 \\$astrikes =653 \\$aAlbania =700 1\$aStamenkoviç, Marko,$eeditor.$0(orcid)0000000325234527$1https://orcid.org/0000-0003-2523-4527 =700 1\$aVaso, Jora,$etranslator. =700 1\$aStringa, Ilirjana,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0443.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0443.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04077nam 22004092 4500 =001 f20869c5-746f-491b-8c34-f88dc3728e18 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692234273$q(Paperback) =024 7\$a10.21983/P3.0072.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPN$2bicssc =072 7$aART017000$2bisacsh =100 1\$aNechvatal, Joseph,$eauthor. =245 10$aMinóy /$cJoseph Nechvatal. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMinóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner). =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amusic =653 \\$aaesthetics =653 \\$anoise art =653 \\$acultural studies =653 \\$acassette culture =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0072.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0072.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04084nam 22005532 4500 =001 4d40aa92-380c-4fae-98d8-c598bb32e7c6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019943080 =020 \\$z9781950192298$q(Paperback) =020 \\$a9781950192304$q(PDF) =024 7\$a10.21983/P3.0256.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJMAF$2bicssc =072 7$aJFC$2bicssc =072 7$aDNF$2bicssc =072 7$aLIT000000$2bisacsh =072 7$aPSY026000$2bisacsh =072 7$aJBCC$2thema =072 7$aJMAF$2thema =072 7$aJMH$2thema =072 7$aJMU$2thema =072 7$aDNL$2thema =100 1\$aBowker, M.H.,$eauthor.$uMedaille College.$0(orcid)0000000155395589$1https://orcid.org/0000-0001-5539-5589 =245 10$aMisinterest :$bEssays, Pensées, and Dreams /$cM.H. Bowker. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (166 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe term “interest” lacks a precise antonym. In English, we have “disinterested” and “uninteresting,” but we want for a term that denotes robust opposition to interest. The same appears to hold true in every other language (as far as we know). Interest’s missing antonym reflects not merely a widespread lexical oversight, but a misrecognition of interest’s complete and exact meaning. More importantly, the idea that interest has no opposite expresses a certain refusal to acknowledge the power of the impulse to extinguish interest, for the self and for others.Why then do we foreclose interest’s possibility, degrade our (and others’) capacities to experience interest, and destroy interest’s objects? Why do we decline what interest proffers — which includes creative and subjective being, thinking, and relating — in favor of more primitive modes of survival, thoughtlessness, and nonbeing? Why do relationships — with ourselves, with others, with objects — toward which genuine interest draws us seem sometimes, if not often, unbearable?These questions are difficult. Their answers, even more so. Misinterest: Essays, Pensées, and Dreams attempts to approach them in an honest way, without making them fascinating, mysterious, boring, obscurantist, or fascinatingly mysteriously boringly obscurantist. Outwardly, Misinterest is concerned with dreams and forgetting and Eros and soaring dogs and groups and suicidal suburban teenagers and sex and jury duty and Nazis and fathers and hatred and holy parrots and fundamentalists and plagues and other things that may or may not be interesting. Ultimately, however, it seeks, like Jules Renard, “en restant exact” (in remaining true/real), to shed light on the establishment of misinterest, missingness, and mystery where and when they need not be, and, thus, on the psychic, familial, and political forces that compel us not to be when and where we ought. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apsychoanalysis =653 \\$ahallucinogens =653 \\$asex =653 \\$aethical philosophy =653 \\$aliterary essays =653 \\$amorality =653 \\$adreams =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0256.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0256.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02572nam 22004332 4500 =001 ee2effea-4051-470b-b4cb-63bccfe30943 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692351260$q(Paperback) =024 7\$a10.21983/P3.0087.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aACXD2$2bicssc =072 7$aARC001000$2bisacsh =072 7$aAMA$2thema =072 7$a6MC$2thema =072 7$a6PD$2thema =100 1\$aJohnson, C.B.,$eauthor.$uMacquarie University. =245 10$aModernity without a Project :$bEssay on the Void Called Contemporary /$cC.B. Johnson. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (212 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEntering the 21st century, the postmodern succession has given way to a doom-laden, apolitical orthodoxy. This book offers suggestive readings of “the contemporary” in light of high modernity, postwar modernity, and postmodernity, as framed by the influential institutions of modern art and the spectacles of millennial architecture. Modernity without a Project critiques and connects historical avant-garde currents as they are institutionally expressed or captured, and scrutinizes the remake of New York’s Museum of Modern Art, Minoru Yamasaki’s vanished Utopias, the “anarchitecture” of Lebbeus Woods, recent work of Rem Koolhaas, delirious developments in Dubai, and the unexpected contribution to architectural debate by the late Hugo Chavez =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amodernism =653 \\$acultural studies =653 \\$aarchitecture =653 \\$aavant-garde art =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0087.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0087.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03845nam 22005412 4500 =001 1445b0f3-7e0d-4ebc-a066-d214ceb6b51d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019944350 =020 \\$z9781950192335$q(Paperback) =020 \\$a9781950192342$q(PDF) =024 7\$a10.21983/P3.0260.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aTTDS$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aSCI098020$2bisacsh =072 7$aDCC$2thema =072 7$aTTDX$2thema =072 7$aTTDS$2thema =100 1\$aDobson, James E.,$eauthor.$uDartmouth College.$0(orcid)0000000183577240$1https://orcid.org/0000-0001-8357-7240 =245 10$aMoonbit /$cJames E. Dobson, Rena J. Mosteirin. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (152 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMoonbit is a hybrid work comprised of experimental poetry and a critical theory of the poetics and politics of computer code. It offers an extended intellectual and creative engagement with the affordances of computer software through multiple readings and re-writings of a singular text, the source code of the Apollo 11 Guidance Computer or the “AGC.” Moonbit re-marks and remixes the code that made space travel possible. Half of this book is erasure poetry that uses the AGC code as the source text, building on the premise that code can speak beyond its functional purpose.When we think about the 1960s U.S. space program and obscure scientific computer code, we might not first think about the Watts riots, Shakespeare, Winnie the Pooh, T.S. Eliot, or scatological jokes. Yet these cultural references and influences along with many more are scattered throughout the body of the code that powered the compact digital computer that successfully guided astronauts to the Moon and back and in July of 1969. Moonbit unravels and rewrites the many embedded cultural references that were braided together within the language resources of mid-century computer code.Moonbit also provides a gentle, non-expert introduction to the text of the AGC code, to digital poetics, and to critical code studies. Outlining a capacious interpretive practice, Moonbit takes up all manner of imaginative decodings and recodings of this code. It introduces some of the major existing approaches to the study of code and culture while provide multiple readings of the source code along with an explanation and theorization of the way in which the code works, as both a computational and a cultural text. =536 \\$aDartmouth College =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aApollo Mission =653 \\$adigital poetics =653 \\$acomputer code =653 \\$aexperimental poetry =653 \\$acultural theory =653 \\$adigital humanities =653 \\$atechnology =700 1\$aMosteirin, Rena J.,$eauthor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0260.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0260.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04815nam 22005172 4500 =001 8d778210-0ef3-47fa-b106-ea173874259b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692622018$q(Paperback) =024 7\$a10.21983/P3.0127.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aART006000$2bisacsh =245 00$aMore&More :$bA Guide to a Harmonized System /$cedited by Marina Zurkow; contributions by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Kalliopi Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, Marina Zurkow. =264 \1$aBrooklyn, NY :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (496 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMore&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow.Its companion book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aexhibition catalog =700 1\$aZurkow, Marina,$eeditor, contributions by.$uNew York University. =700 1\$aAlaimo, Stacy,$econtributions by.$uThe University of Texas at Arlington.$0(orcid)0000000168911343$1https://orcid.org/0000-0001-6891-1343 =700 1\$aDavis, Heather,$econtributions by.$uPennsylvania State University. =700 1\$aForde, Kathleen,$econtributions by. =700 1\$aGauthier, Dylan,$econtributions by.$0(orcid)0000000250945614$1https://orcid.org/0000-0002-5094-5614 =700 1\$aGlasberg, Elena,$econtributions by. =700 1\$aMathios, Kalliopi,$econtributions by. =700 1\$aMentz, Steve,$econtributions by.$uSt. John’s University.$0(orcid)000000027118798X$1https://orcid.org/0000-0002-7118-798X =700 1\$aNeimanis, Astrida,$econtributions by.$uUniversity of Sydney. =700 1\$aPiuma, Chris,$econtributions by.$uUniversity of Toronto. =700 1\$aProbyn, Elspeth,$econtributions by.$uUniversity of Sydney.$0(orcid)0000000318474864$1https://orcid.org/0000-0003-1847-4864 =700 1\$aRothberg, Sarah,$econtributions by. =700 1\$aSteinberg, Phil,$econtributions by.$uDurham University. =700 1\$aWong, Rita,$econtributions by.$uEmily Carr University of Art and Design. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0127.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0127.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03613nam 22003972 4500 =001 5482b275-d814-4dc9-a429-92c0aeb05f3a =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692622001$q(Paperback) =024 7\$a10.21983/P3.0126.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aART006000$2bisacsh =100 1\$aZurkow, Marina,$eauthor.$uNew York University. =245 10$aMore&More :$bThe Invisible Oceans /$cMarina Zurkow, Sarah Rothberg, Surya Mattu; edited by Chris Piuma. =264 \1$aBrooklyn, NY :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (56 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMore&More is an art and research project that explores the language and mechanics of global trade, container shipping, and the exchange of goods. It questions a mercantile structure that by necessity disallows the presence of ocean as a real space in order to flatten the world into a Pangaea of capital. The project is presented in two volumes, released in conjunction with an exhibition of Marina Zurkow’s work (with collaborators Sarah Rothberg, Surya Mattu, and others) at bitforms gallery in New York City in February 2016.This book, More&More (The Invisible Oceans), is a catalog of the exhibition, featuring many full-color images of the art on display (including video stills, bespoke bathing suits, and fungal sculptures), as well as an introduction by Marina Zurkow and a conversation between Zurkow and international curator Kathleen Forde.Its companion book, More&More (A Guide to the Harmonized System), is an experimental “brick” of a book that intervenes in the Harmonized Commodity Description and Coding System (also known as the HS Code). The HS Code is the internationally accepted standard of product classification, which codifies the way nations conduct import/export. All legal trade products (and illegal ones that find loopholes) are shipped using this system. More&More (A Guide to the Harmonized System) lists the astonishing variety of items that are shipped around the world, and includes instructions for using the code to ship items (both legally and illegally). It also includes poetic, personal, and scholarly annotations by Stacy Alaimo, Heather Davis, Kathleen Forde, Dylan Gauthier, Elena Glasberg, Calliope Mathios, Steve Mentz, Astrida Neimanis, Chris Piuma, Elspeth Probyn, Sarah Rothberg, Phil Steinberg, Rita Wong, and Marina Zurkow. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aexhibition catalog =700 1\$aRothberg, Sarah,$eauthor.$uNew York University. =700 1\$aMattu, Surya,$eauthor. =700 1\$aPiuma, Chris,$eeditor.$uUniversity of Toronto. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0126.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0126.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04162nam 22005892 4500 =001 7c1149e7-7e2b-426f-acd1-281d4273e02d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022932942 =020 \\$z9781685710224$q(Paperback) =020 \\$a9781685710231$q(PDF) =024 7\$a10.53288/0338.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAFKV$2bicssc =072 7$aAFKP$2bicssc =072 7$aAGN$2bicssc =072 7$aPSVS$2bicssc =072 7$aPSAF$2bicssc =072 7$aNAT024000$2bisacsh =072 7$aART017000$2bisacsh =072 7$aAFKV$2thema =072 7$aAFKP$2thema =072 7$aAGNA$2thema =072 7$aPSAF$2thema =245 00$aMultispecies Storytelling in Intermedial Practices /$cedited by Ida Bencke, Jørgen Bruhn. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (324 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMultispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise?Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not.Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse.Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too. - =536 \\$aBrock University$eTattersall Lab =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amultispecies narratives =653 \\$aclimate emergency =653 \\$amedia studies =653 \\$aartistic research =653 \\$aintermediality =653 \\$aecosystems =653 \\$amultimedia art =700 1\$aBencke, Ida,$eeditor. =700 1\$aBruhn, Jørgen,$eeditor.$uLinnaeus University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0338.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0338.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02892nam 22004092 4500 =001 88887777-f901-4ee7-97d8-b72b498dbb99 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692734629$q(Paperback) =024 7\$a10.21983/P3.0145.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSC$2bicssc =072 7$aLIT014000$2bisacsh =100 1\$aBrennan, David John,$eauthor.$uJames Madison University.$0(orcid)0009000719166835$1https://orcid.org/0009-0007-1916-6835 =245 10$aMurder Ballads :$bExhuming the Body Buried beneath Wordsworth's Lyrical Ballads /$cDavid John Brennan. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (160 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 1798, William Wordsworth and Samuel Taylor Coleridge were engaged in a top secret experiment. This was not, as many assume, the creation of a book of poetry. A book emerged, to be sure—the landmark Lyrical Ballads. But in Murder Ballads, David John Brennan posits that the two poets were in fact pursuing far different ends: to birth from their poems a singular, idealized Poet.Despite their success, such Frankensteinian pursuits proved rife with consequence for the men. Doubts and questions plagued them: What does it mean to be a poet if your work is not your own? Who is best fit to lay claim to a parcel of poetic property that was collaboratively crafted and bequeathed to a fictitious Poet? How does one kill a Poet born of one’s own hand?Blending critical examination with jocular playlets-in-verse featuring the authors of the two books in baffled conversation, Murder Ballads reopens a 200-year-old cold case that never received a proper investigation: Who was the first true Author of Lyrical Ballads, and how exactly did he die? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$acriticism =653 \\$aWordsworth =653 \\$aplays =653 \\$aexperimental poetry =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0145.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0145.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03157nam 22005052 4500 =001 e1a60651-bb32-4ec1-a39f-d8ffe20bd238 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019931176 =020 \\$z9781950192113$q(Paperback) =020 \\$a9781950192120$q(PDF) =024 7\$a10.21983/P3.0252.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aART006000$2bisacsh =072 7$aAGC$2thema =072 7$aJBFU$2thema =072 7$aJBFV$2thema =100 1\$aGustafsson, Laura,$eauthor. =245 10$aMuseum of Nonhumanity /$cLaura Gustafsson, Terike Haapoja. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (281 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMuseum of Nonhumanity is the catalogue for a full-size touring museum that presents the history of the distinction between humans and animals, and the way that this artificial boundary has been used to oppress human and nonhuman beings over long historical periods. Throughout history, declaring a group to be nonhuman or subhuman has been an effective tool for justifying slavery, oppression, medical experimentation, genocide, and other forms of violence against those deemed “other.” Conversely, differentiating humans from other species has paved the way for the abuse of natural resources and other animals. Museum of Nonhumanity approaches animalization as a nexus that connects xenophobia, sexism, racism, transphobia, and the abuse of nature and other animals. The touring museum hosts lecture programs in which local civil rights and animal rights organizations, academics, artists, and activists propose paths to a more inclusive society through intersectional approaches. The museum also hosts a pop-up book shop and a vegan café. As a temporary, utopian institution, Museum of Nonhumanity stands as a monument to the call to make animalization history. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aposthumanism =653 \\$aart =653 \\$aanimal rights =653 \\$acritical animal studies =653 \\$aethics =653 \\$amoral philosophy =653 \\$amuseums =700 1\$aHaapoja, Terike,$eauthor.$uParsons School of Design. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0252.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0252.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02807nam 22004092 4500 =001 0a1b16f0-411d-4509-b50c-088a3495476e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615830001$q(Paperback) =024 7\$a10.21983/P3.0101.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =100 1\$aStrouse, A.W.,$eauthor.$uThe Graduate Center, CUNY. =245 10$aMy Gay Middle Ages /$cA.W. Strouse. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (86 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the world of My Gay Middle Ages, Chaucer and Boethius are the secret-sharers of A.W. Strouse’s “gay lifestyle.” Where many scholars of the Middle Ages would “get in from behind” on cultural history, Strouse instead does a “reach around.” He eschews academic “queer theory” as yet another tedious, normative framework, and writes in the long, fruity tradition of irresponsible, homo-medievalism (a lineage that includes luminaries like Oscar Wilde, who was sustained by his amateur readings of Dante and Abelard during the darks days of his incarceration for crimes of “gross indecency”). Strouse experiences medieval literature and philosophy as a part of his everyday life, and in these prose poems he makes the case for regarding the Middle Ages as a kind of technology of self-preservation, a posture through which to spiritualize the petty indignities of modern urban life. With a Warholian flair for insouciant name-dropping and a Steinian appetite for syntactic perversion, Strouse monumentalizes the medieval within the contemporary and the contemporary within the medieval. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aprose poetry =653 \\$agay life =653 \\$amemoir =653 \\$aMiddle Ages =653 \\$amedievalism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0101.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0101.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03963nam 22005292 4500 =001 dfaab9b1-940c-432f-85bf-13d387595689 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022948536 =020 \\$z9781685710682$q(Paperback) =020 \\$a9781685710699$q(PDF) =024 7\$a10.53288/0394.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCQ$2bicssc =072 7$aCFC$2bicssc =072 7$aPOE001000$2bisacsh =072 7$aCOM060140$2bisacsh =072 7$aDCQ$2thema =072 7$aCFC$2thema =245 00$aMy Phone Lies to Me :$bFake News Poetry Workshops As Radical Digital Media Literacy Given the Fact of Fake News /$cedited by Alexandra Juhasz. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (144 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book of poems about fake news written by diverse project participants is foremost an invitation and invocation for readers to participate, with others, in an experiment in knowing and working differently with the internet: Fake News Poetry Workshops. Between 2018 and 2020, Alexandra Juhasz directed more than twenty of these workshops around the world, and these are ongoing beyond the confines of this book. Each differs in form and structure, but participants are always asked to attend to research, their own knowledge about the internet and social media, and what they can learn from their workshop and previous ones.My Phone Lies to Me shares the poems created in the workshops. As moving, eloquent, and useful as they may be — and you are invited to indulge in and learn from them — enjoying and learning from the poems is only a small part of this book’s project. Four short essays (two by Juhasz, with a foreword and afterword by critical internet scholars Tara McPherson and Margaret Rhee, respectively) introduce and situate the project’s processes of radical digital media. You can learn what Fake News Poetry Workshops make, do, and believe in, as well as how to collaborate with others to create your own.Fake News Poetry Workshops are one way to counter dominant and dominating internet modes and values, to fight the corrupt ways of being and knowing that use digital media to create, fuel, and weaponize fake news. The project verifies good news in the face of fake news: that we can gather together in our many local places and use analog structures (about digital things and ways) to generate, hold, and share "art answers to phony questions." =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afake news =653 \\$amedia literacy =653 \\$apoetry =653 \\$acritical internet studies =653 \\$amedia praxis =653 \\$aintersectional feminism =653 \\$acreative research methods =700 1\$aJuhasz, Alexandra,$eeditor.$uBrooklyn College.$0(orcid)0000000176167323$1https://orcid.org/0000-0001-7616-7323 =700 1\$aMcPherson, Tara,$eforeword by.$uUniversity of Southern California. =700 1\$aRhee, Margaret,$eafterword by.$uNew School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0394.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0394.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03746nam 22004332 4500 =001 763ca210-ebe8-4a54-8e98-d57acd0d5e2f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018941289 =020 \\$z9781947447561$q(Paperback) =020 \\$a9781947447578$q(PDF) =024 7\$a10.21983/P3.0202.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBB$2bicssc =072 7$aLIT011000$2bisacsh =100 1\$aDane, Joseph A.,$eauthor.$uUniversity of Southern California. =245 10$aMythodologies :$bMethods in Medieval Studies, Chaucer, and Book History /$cJoseph A. Dane. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (292 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aMythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it.This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, “Noster Chaucer,” looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. “Our” Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, “Bibliography and Book History,” consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, “Cacophonies: A Bibliographical Rondo,” is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amedieval studies =653 \\$aChaucer =653 \\$abook history =653 \\$aintellectual history =653 \\$abibliography =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0202.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0202.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03379nam 22004212 4500 =001 bb91585a-0ce3-4e37-b6e2-0bf160cedab0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692523551$q(Paperback) =024 7\$a10.21983/P3.0113.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aARC013000$2bisacsh =245 00$aMythomaniaS :$bCrime Scenes & Psycho Case Studies /$cedited by Camille Lacadée, François Roche. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (118 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$amythomaniaS is a catalog of case studies in the form of film stills, architectural fragments, stage props, texts, and images culled from the experiments of MindMachineMakingMyths (Lab M4, part of the New Territories architecture studio, Bankgok, Thailand), a collaboration begun in 2012 between Camille Lacadee and François Roche to construct environmental-architectural psycho-scapes (in the partly fabricated wilds of various countries) as laboratory-shelters for exploring and deconstructing the supposed rifts between realism and speculative fiction (myth), psyche and environment, body and mind. Bringing together architecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s pataphysics (the “science of imaginary solutions which symbolically attributes the properties of objects, described by their virtuality, to their lineaments”), Lacadee and Roche (and their tribe, Ezio Blasetti, Stephan Henrich, Danielle Willems, Gwyll Jahn, and many others) enacted and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural structures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-machine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”). =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ametempsychosis =653 \\$aarchitecture =653 \\$apsychoanalysis =653 \\$afilm =653 \\$amyth =700 1\$aLacadée, Camille,$eeditor. =700 1\$aRoche, François,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0113.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0113.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04598nam 22005772 4500 =001 e20a5d20-78a2-47b4-b15e-2daab8effb56 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023949022 =020 \\$z9781685711566$q(Paperback) =020 \\$a9781685711573$q(PDF) =024 7\$a10.53288/0418.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aJHMC$2bicssc =072 7$a1HFGK$2bicssc =072 7$aART006010$2bisacsh =072 7$aSOC002010$2bisacsh =072 7$aAGC$2thema =072 7$aJHMC$2thema =072 7$a1HFGK$2thema =245 00$aNairobi Becoming :$bSecurity, Uncertainty, Contingency /$cedited by Joost Fontein, Tessa Diphoorn, Peter Lockwood, Constance Smith. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (352 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEchoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency.Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways.If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amultimodal ethnography =653 \\$aNairobi =653 \\$acritical practice =653 \\$aartistic collaboration =653 \\$aurbanism =653 \\$amaterial culture =653 \\$aanthropology =653 \\$aKenya =700 1\$aFontein, Joost,$eeditor.$uUniversity of Johannesburg. =700 1\$aDiphoorn, Tessa,$eeditor.$uUtrecht University.$0(orcid)0000000173575954$1https://orcid.org/0000-0001-7357-5954 =700 1\$aLockwood, Peter,$eeditor.$uUniversity of Manchester. =700 1\$aSmith, Constance,$eeditor.$uUniversity of Manchester.$0(orcid)0000000263974414$1https://orcid.org/0000-0002-6397-4414 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0418.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0418.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02446nam 22004212 4500 =001 1bba80bd-2efd-41a2-9b09-4ff8da0efeb9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780988234093$q(Paperback) =024 7\$a10.21983/P3.0349.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPFB$2bicssc =072 7$aPOL042010$2bisacsh =072 7$aJPFB$2thema =245 00$aNew Developments in Anarchist Studies /$cedited by pj lilley, Jeff Shantz. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (390 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPapers from the 5th Conference of the North American Anarchist Studies Network (La Red Norteamericana de Estudios Anarquistas / Le Réseau Nord-Américain d'études Anarchistes)Anarchism is experiencing a remarkable resurgence in the new millenium. Not only active in the streets across Turtle Island, growing interest in anarchist scholarship is perhaps unprecedented. This is reflected in the development of the North American Anarchist Studies Network (NAASN). Drawn from papers presented at the fifth NAASN conference in Surrey (on Coast Salish Territories), this collection shows the vitality of contemporary anarchist research and writing. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanarchism =653 \\$apolitical philosophy =653 \\$asocial activism =653 \\$aCanada =700 1\$alilley, pj,$eeditor. =700 1\$aShantz, Jeff,$eeditor.$uKwantlen Polytechnic University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0349.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0349.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02929nam 22004092 4500 =001 34682ba4-201f-4122-8e4a-edc3edc57a7b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615840550$q(Paperback) =024 7\$a10.21983/P3.0045.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCB$2bicssc =072 7$aPHI012000$2bisacsh =100 0\$aMichael Edward Moore,$eauthor.$uUniversity of Iowa. =245 10$aNicholas of Cusa and the Kairos of Modernity :$bCassirer, Gadamer, Blumenberg /$cMichael Edward Moore. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (114 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn this far-reaching essay, historian Michael Edward Moore examines modernity as an historical epoch following the end of the medieval period — and as a “messianic concept of time.” In the early twentieth century, a debate over the meaning and origins of modernity unfolded among the philosophers Ernst Cassirer, Hans-Georg Gadamer and Hans Blumenberg. These thinkers tried to resolve the puzzle of the fifteenth-century master Nicholas of Cusa. Was Cusanus the last great medieval thinker, his ideas a summa of medieval tradition? Or was he a mysterious epochal figure, seated at one end of the bridge leading to modern thought? Nicholas of Cusa lived during a time of historical and existential crisis, or kairos, when medieval governments and cherished sources of unity were shaken. Likewise, the debate over his significance took place during a later phase of crisis for Europe, in the decades before and after the Second World War, when the collapse of European civilization was witnessed. Moore argues that modernity, so intently examined as an historical and spiritual problem, has significance for our contemporary sense of crisis. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aMiddle Ages =653 \\$amodernity =653 \\$aNicholas of Cusa =653 \\$aintellectual history =653 \\$aphilosophy =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0045.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0045.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03355nam 22004572 4500 =001 edf31616-ea2a-4c51-b932-f510b9eb8848 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9781947447851$q(Paperback) =020 \\$a9781947447868$q(PDF) =024 7\$a10.21983/P3.0231.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =072 7$aSOC064000$2bisacsh =072 7$aJBSJ$2thema =072 7$aDNC$2thema =100 1\$aSingh, Julietta,$eauthor.$uUniversity of Richmond. =245 10$aNo Archive Will Restore You /$cJulietta Singh. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (118 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAt once memoir, theory, poetic prose, and fragment, No Archive Will Restore You is a feverish meditation on the body. Departing from Antonio Gramsci’s summons to compile an inventory of the historical traces left in each of us, Singh engages with both the impossibility and urgent necessity of crafting an archive of the body. Through reveries on the enduring legacies of pain, desire, sexuality, race, and identity, she asks us to sense and feel what we have been trained to disavow, to re-member the body as more than itself.Why this desire for a body archive, for an assembly of history’s traces deposited in me? (I worry over how to describe it, how to frame it without sounding banal or bafflingly idiosyncratic.) The body archive is an attunement, a hopeful gathering, an act of love against the foreclosures of reason. It is a way of knowing the body-self as a becoming and unbecoming thing, of scrambling time and matter, of turning toward rather than against oneself. And vitally, it is a way of thinking-feeling the body’s unbounded relation to other bodies.I begin then to compile an archive of my body, an activity that from the start feels discomfortingly intimate. Too intimate and too bewildering an undertaking, because like all other bodies mine has become so many things over time, has changed dramatically through forces both natural and social. I am also, it must be noted, a person whose body has been broken and maimed many times over—a fact that I cannot yet entirely account for. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary memoir =653 \\$abulimia =653 \\$asexuality =653 \\$amotherhood =653 \\$aarchives =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0231.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0231.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03275nam 22004452 4500 =001 1cfca75f-2e57-4f34-85fb-a1585315a2a9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018968576 =020 \\$z9781950192052$q(Paperback) =020 \\$a9781950192069$q(PDF) =024 7\$a10.21983/P3.0244.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAVA$2bicssc =072 7$aART017000$2bisacsh =100 1\$aZwintscher, Aaron,$eauthor.$uNew York City College of Technology. =245 10$aNoise Thinks the Anthropocene :$bAn Experiment in Noise Poetics /$cAaron Zwintscher. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (162 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic.Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropocene =653 \\$anoise =653 \\$aecological studies =653 \\$asound studies =653 \\$apoetics =653 \\$asustainability studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0244.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0244.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03642nam 22004812 4500 =001 571d5d40-cfd6-4270-9530-88bfcfc5d8b5 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018968575 =020 \\$z9781950192038$q(Paperback) =020 \\$a9781950192045$q(PDF) =024 7\$a10.21983/P3.0247.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a1DVT$2bicssc =072 7$aDNF$2bicssc =072 7$aPHI019000$2bisacsh =072 7$a1DTT$2thema =072 7$aDNL$2thema =100 1\$aAracagök, Zafer,$eauthor. =245 10$aNon-Conceptual Negativity :$bDamaged Reflections on Turkey /$cZafer Aracagök. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (142 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNon-Conceptual Negativity: Damaged Reflections on Turkey critiques those who have accused Deleuze of an unbounded affirmation which, according to them, has played directly into the hands of capitalist modes of production. Yet no one has acknowledged that under the aegis of nano-fascism, late capitalism has grown into Neanderthal capitalism, invented and developed in laboratory countries like Turkey with the aid of an international Neanderthal league.Layer upon layer, Aracagök explains in fragmentary fashion that it is not only a matter of how Turkey has grown into a prime laboratory of nano-fascism with the aid of the US and the European Union, but also how the results obtained from this laboratory are put into practice in different countries under Neanderthal capitalism, enslaving each and every one of us into accepting even the position of suicide bomber. As none of us is exempted from nano-fascism today, perhaps it is timely to reconsider the ways in which Deleuzian thought is appropriated in the form of an unquestioned affirmation of everything and how its critique has ended up in an old-fashioned formulation of the in-dividual according to a party program.If this all goes to show that we are face to face with a route different from the accepted forms of affirmation — that is, if we are all affirmed and seem to be happily affirming life as it is as a result of the Neanderthal manipulation of the negative — then isn’t it timely to rethink the Deleuzian affirmation in its non-originary origin with regard to Adorno’s resistance against affirmation? That is, the double negation never ends up in affirmation, and if it does so, it might mean your negation is not strong enough. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$acritical theory =653 \\$aTurkey =653 \\$aGilles Deleuze =653 \\$afascism =700 1\$aBerardi, Fraco "Bifo",$eforeword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0247.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0247.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04166nam 22005772 4500 =001 4009b316-9098-4130-aa70-d644d798278b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022951249 =020 \\$z9781685711160$q(Paperback) =020 \\$a9781685711177$q(PDF) =024 7\$a10.53288/0383.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aACBP$2bicssc =072 7$a1QSPN$2bicssc =072 7$aAGC$2bicssc =072 7$aART019010$2bisacsh =072 7$aART019030$2bisacsh =072 7$aART039000$2bisacsh =072 7$aAGC$2thema =072 7$a1QSPN$2thema =072 7$a5PB-US-D$2thema =100 1\$aLittle, Stephen,$eauthor.$uLos Angeles County Museum of Art. =245 10$aNortheastern Asia and the Northern Rockies :$bTreasures from the Los Angeles County Museum of Art and the Daryl S. Paulson Collection /$cStephen Little, T. Lawrence Larkin. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (324 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe philosophical ties between Northeastern Asia and the Northern Rockies as represented in a selection of fine art — including Daoist nature deities and immortals, Confucian scholar brushes and inkstones, and Buddhist guardian kings and compassionate bodhisattvas — have never been explicated. This catalog lays the groundwork for a serious discussion of trans-Pacific acculturation: first by explaining the fundamentals of Daoism, Confucianism, and Buddhism in reference to rare works of art produced in China, Korea, and Japan between the Tang Dynasty and the Qing Dynasty, and second, by assessing the prevalence of these philosophies as indicated by photographs of temples, shrines, deities, and rituals recreated in Idaho, Montana, Wyoming, and Colorado between the Civil War and World War I.Drawing from the collections of the Los Angeles County Museum of Art and the Daryl S. Paulson Collection in Bozeman, Montana, Asian art curator Stephen Little offers three brief essays that distinguish the philosophies of Daoism, Confucianism, and Buddhism according to their founding values, each followed by several object case studies that illustrate, elaborate, and develop those ideals. Mining the photographs of the state historical societies of Boise, Helena, Cheyenne, and Denver, Euro-American art professor T. Lawrence Larkin offers a long essay that compares religious values and artistic forms on both sides of the Pacific illustrated by objects that highlight migrant and settler culture in the Inner West. Profusely illustrated with new color and rarely seen black-and-white images, and containing useful maps, chronologies, and an index, Northeastern Asia and the Northern Rockies is an invaluable reference for the general reader and an important resource for the regional scholar. =536 \\$aHenry Luce Foundation$cIndex 423067$eLuce Foundation Grant =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aChinese art =653 \\$aJapanese art =653 \\$aKorean art =653 \\$aConfucianism =653 \\$aDaoism =653 \\$aBuddhism =653 \\$aAsian American settlers =653 \\$amigration =700 1\$aLarkin, T. Lawrence,$eauthor.$uMontana State University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0383.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0383.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03782nam 22005052 4500 =001 3eb0d095-fc27-4add-8202-1dc2333a758c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022951872 =020 \\$z9781685711009$q(Paperback) =020 \\$a9781685711016$q(PDF) =024 7\$a10.53288/0366.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aJPZ$2bicssc =072 7$aARC001000$2bisacsh =072 7$aPOL040010$2bisacsh =072 7$aAMA$2thema =072 7$aJPZ$2thema =072 7$aKCSA$2thema =100 1\$aMarkus, David,$eauthor.$uNew York University.$0(orcid)0000000183689699$1https://orcid.org/0000-0001-8368-9699 =245 10$aNotes on Trumpspace :$bPolitics, Aesthetics, and the Fantasy of Home /$cDavid Markus. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (186 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the wake of the 2016 U.S. Presidential election, considerable ink was spilled on the architecture and interior design of the buildings owned and inhabited by Donald J. Trump. In an effort to understand the inner workings of America’s first real-estate-mogul-in-chief, commentators remarked on everything from the president’s fastidious taste in window dressings to the exaggerated floor counts boasted by many Trump-branded towers.Notes on Trumpspace takes this discursive trend as a point of departure. It examines not only key examples of “Trumpitecture” but also works of film, fiction, and contemporary art that center on or otherwise illuminate the psychogeography of “super luxury” real estate. Engaging closely with current political debates, the book takes a critical approach to mainstream liberal reactions to the Trump presidency. It argues that the fascination and horror Trump has provoked is owing in part to the way he lays bare the obsession with status, self-branding, and achievement-at-any-cost that has been part and parcel of the broader neoliberal ethos. Finally, it analyzes the January 6, 2021 storming of the US Capitol through the lens of spatio-political theorizations of settler colonial power and conceptions of home and homeland.A genre-defying work of political and aesthetic inquiry, Notes on Trumpspace offers a sustained investigation into the relationship between the built environment, late capitalist fantasy, and national identity. It asks what it means for current and future understandings of home and dwelling that this era’s most notorious peddler of high-end real estate succeeded in peddling his way into the White House in 2016. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture criticism =653 \\$aDonald J. Trump =653 \\$apolitics =653 \\$aJanuary 6 insurrection =653 \\$acontemporary art =653 \\$asuperluxury real estate =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0366.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0366.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03846nam 22004932 4500 =001 a01f41d6-1da8-4b0b-87b4-82ecc41c6d55 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022940924 =020 \\$z9781685710606$q(Paperback) =020 \\$a9781685710613$q(PDF) =024 7\$a10.53288/0382.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSB$2bicssc =072 7$aCFGR$2bicssc =072 7$aLIT024000$2bisacsh =072 7$aLIT006000$2bisacsh =072 7$aDSB$2thema =072 7$aCFG$2thema =100 1\$aCascella, Daniela,$eauthor.$uGlasgow School of Art.$0(orcid)0000000179955915$1https://orcid.org/0000-0001-7995-5915 =245 10$aNothing As We Need It :$bA Chimera /$cDaniela Cascella. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (150 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNothing As We Need It: A Chimera imagines and writes a composite and impure form of criticism that embodies the writing of research as recursive, entangled, and many-voiced.Shaped by encounters with literature not translated in English, by the polyphonies, artifices, and concealments of a bilingual self, and by the sense of speechlessness and haunting when writing of works that cannot be instantly quoted, this book’s subtitle derives from the mythological Chimera: a monstrous creature made of three different parts, impossible in theory but real in the imagination and in the reading of the myth. Similarly the book is written in different styles, some of which may seem impossible, monstrous, and disturbing. It manifests critical writing as enmeshment and conversation with its subject matters; favours impurity rather than detachment; embraces exaggeration, repetition, laughter, and self-parody as legitimate forms of knowledge. Yet a chimera also designates the object of a yearning deemed unattainable: this book exists in the space of such yearning, in the tension between words and what exceeds them, their overtones. The critic is exhausted by yearning, rather than the owner of exhaustive knowledge.A Menippean satire for critical writing, Nothing As We Need It sustains its argument for composite and impure writing in its form. It demands ways of reading equally varied, and wildly imaginative. Listening to literature beyond the limits of textual analysis, it dismisses the visual implications of reflection, which assumes detachment and polished surfaces, in favour of an aural method of resonance, allowing enmeshment and interference. This book unsettles language, welcomes uninhibited exaggeration and wordplay, and manifests possibilities for working with citation beyond the boundaries of inverted commas. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary criticism =653 \\$aMenippean satire =653 \\$acomposition =653 \\$adisciplinarity =653 \\$aliterary theory =653 \\$arhetoric =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0382.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0382.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02793nam 22004332 4500 =001 48e2a673-aec2-4ed6-99d4-46a8de200493 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018953767 =020 \\$z9781947447752$q(Paperback) =020 \\$a9781947447769$q(PDF) =024 7\$a10.21983/P3.0208.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAJB$2bicssc =072 7$aPHO011010$2bisacsh =100 1\$aAdams, Abraham,$eauthor.$uBrown University. =245 10$aNothing in MoMA /$cAbraham Adams. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (90 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aNothing in MoMA is a series of photographs captured in areas of Manhattan museums in which there are no artworks, written words, or people. Addressing the “grammar that organizes and secures our scene of looking,” in the words of art historian David Joselit’s introduction, the book imagines a composite empty museum or a narrative of marginal attention. Originally displayed in partial prototype as a children’s board book at Artists Space in 2015, Nothing in MoMA is here collected for the first time in the series’ entirety. Evoking the history of indeterminacy as much as that of institutional critique, the deadpan composition of Adams’s photographs likewise recalls François Jullien’s theory of bland aesthetics, in a playful reductio of socio-institutional space to a bare literality. Both a visual essay on museum phenomenology and a performance document, Nothing in MoMA describes a choreography of avoidance, in which a conceptual constraint becomes a means of seeing and navigating concrete space. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aconceptual art =653 \\$amuseology =653 \\$aphotography =653 \\$avoid studies =653 \\$aarchitecture =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0208.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0208.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02915nam 22005052 4500 =001 7a4506ac-dfdc-4054-b2d1-d8fdf4cea12b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022930855 =020 \\$z9781685710187$q(Paperback) =020 \\$a9781685710194$q(PDF) =024 7\$a10.53288/0346.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$anub =072 7$a2HNR$2bicssc =072 7$aGBCQ$2bicssc =072 7$a1HBE-AA-D$2bicssc =072 7$a1HBEN$2bicssc =072 7$aREF019000$2bisacsh =072 7$aSOC002010$2bisacsh =072 7$aGBCQ$2thema =072 7$a2HNR$2thema =100 1\$aHabbob, Maher,$eauthor. =245 10$aNubian Proverbs (Fadijja/Mahas) /$cMaher Habbob. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (154 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the 1995/96 academic year, twenty-five Egyptian Nubian students of the Faculty of Social Work in Aswan were recruited by Dr. Muddathir Salim to complete a brief Nubian ethnological survey, largely restricted to the area of New Nubia, over a period of several months. They documented Egyptian Nubian culture and heritage, among them proverbs, tales, lullabies, marriage customs, and moulid and mourning songs, as well as models of Nubian clothes, jewelry, and houses.This research has culminated in Maher Habbob's Nubian Proverbs, which presents the fruits of decades of collecting proverbs from his native Nubian region in Fadijja (Nobiin). The five hundred proverbs gathered in this volume give a vivid picture of the Nubian imagination and represent a priceless archive of cultural heritage threatened by ongoing assimilation and cultural genocide.The proverbs are presented in Nubian script, accompanied by a transliteration in Roman script, an a literal translation and paraphrase in English. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aproverbs =653 \\$aNobiin =653 \\$aNubia =653 \\$aEgypt =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0346.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0346.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02823nam 22004932 4500 =001 97019dea-e207-4909-b907-076d0620ff74 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021947743 =020 \\$z9781685710026$q(Paperback) =020 \\$a9781685710033$q(PDF) =024 7\$a10.53288/0301.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSB$2bicssc =072 7$aAVA$2bicssc =072 7$aPHI001000$2bisacsh =072 7$aPHI026000$2bisacsh =072 7$aDSB$2thema =072 7$aAVA$2thema =100 1\$aVerran, Erick,$eauthor.$uUniversity of Florida.$0(orcid)0000000169184192$1https://orcid.org/0000-0001-6918-4192 =245 10$aObiter Dicta /$cErick Verran. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (390 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aStitched together over five years of journaling, Obiter Dicta is a lyrical compendium representing the transcription of twelve notebooks, since painstakingly reimagined for publication. This unschooled exercise in aesthetic thought, interlaced with quotations from hundreds of diverse authors, interrogates a wide array of subject matter through notes, commentary, observations, and musings. With lessons stolen from seemingly unrelatable disciplines, the restless candor of Erick Verran’s approach to philosophical and social inquiry will be familiar to readers of Dave Hickey’s Air Guitar and Mark Fisher’s K-Punk.Obiter Dicta is an experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to photography to the evolution of European music. A Zibaldone for the 21st century. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aaphorisms =653 \\$aTheodor Adorno =653 \\$apoetry =653 \\$amusic theory =653 \\$aphilosophy =653 \\$aliterary theory =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0301.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0301.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03379nam 22004212 4500 =001 06b256bf-62cf-4e01-be37-44f250a8b920 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692642030$q(Paperback) =024 7\$a10.21983/P3.0130.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRNT$2bicssc =072 7$aPHI013000$2bisacsh =072 7$aLIT015000$2bisacsh =245 00$aObject Oriented Environs /$cedited by Jeffrey Jerome Cohen. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (218 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aObject Oriented Environs is the lively archive of a critical confluence between the environmental turn so vigorous within early modern studies, and thing theory (object oriented ontology, vibrant materialism, the new materialism and speculative realism). The book unfolds a conversation that attempts to move beyond anthropocentrism and examine nonhumans at every scale, their relations to each other, and the ethics of human enmeshment within an agentic material world. The diverse essays, reflections, images and ephemera collected here offer a laboratory for probing the mystery and potential autonomy of objects, in their alliances and in performance.The book is the trace of an event-space crafted over a day of conversation in two seminars at the Shakespeare Association of America meeting in 2014 in St. Louis and offers its nineteen essays as the end to the work-cycle of the collective we crafted that day. It is a noisy collation, full of bees, bushes, laundry, crutches, lists, poems, plague vectors, planks, chairs, rain, shoes, meat, body parts, books, and assorted humans (living and dead), and also a repertoire of dance steps, ways of configuring the relations between subject and object, actors or actants (human and otherwise). It is also a book that asks readers to ponder their environs, to consider the particularities of their world, of their reading experiences, and to consider what orders of meaning we might be able to derive from attending closely to all the very many things we come into being with. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aEarly Modern studies =653 \\$aecocriticism =653 \\$aobject-oriented ontology =653 \\$aShakespeare Studies =700 1\$aCohen, Jeffrey Jerome,$eeditor.$uGeorge Washington University. =700 1\$aYates, Julian,$eeditor.$uUniversity of Delaware. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0130.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0130.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03558nam 22005412 4500 =001 c4cc39f9-d72b-4e83-9813-e98f87186331 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024948782 =020 \\$z9781685712020$q(Paperback) =020 \\$a9781685712037$q(PDF) =024 7\$a10.53288/0520.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPQ$2bicssc =072 7$aJMAF$2bicssc =072 7$aPHI005000$2bisacsh =072 7$aPSY026000$2bisacsh =072 7$aQDTQ$2thema =072 7$aJMAF$2thema =100 1\$aBowker, M.H.,$eauthor.$uUniversity at Buffalo, State University of New York.$0(orcid)0000000155395589$1https://orcid.org/0000-0001-5539-5589 =245 10$aOblation :$bEssays, Parables, Paradoxes /$cM.H. Bowker. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (112 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aElements of this book, Oblation: Essays, Parables, Paradoxes, defy reason. They do so for good reason. Much of what we do, much of what we think, is oblation: sacrifice, offering, to something or someone. The root of “oblation” is “to draw near” or “to dwell in.” It refers to what is brought unto the altar, literal or proverbial — the profoundest oblation being what binds us together, our very souls, our dearest loves, indistinguishable from ourselves, our Isaacs on our Mount Moriahs.The natures of our oblations characterize our relationships to objects great and small, e.g., Lords and loved ones, groups and masses of signifiers. Oblative transactions promise meaning, yet we are full of uncertainty. What is it that cries out for oblation? How do we hear its voice? Are we, in fact, called, or do we, on the contrary, offer every bit gratuit? Why, as Albert Camus famously remarked, do “the stage sets collapse” as we offer ourselves to life’s routine?In Oblation, M.H. Bowker considers these questions in a series of essays touching upon figures such as Franz Kafka, Edgar Allan Poe, Baron van Münchhausen, and Jacques Lacan, unraveling themes of loss, hatred, and the Munchausen syndrome by proxy. Interspersed with brief parables and paradoxes, Bowker's essays push us to wonder who or what we are offering ourselves and others to – and how we get away with this. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ahatred =653 \\$aloss =653 \\$apsychoanalysis =653 \\$aMunchausen syndrome by proxy =653 \\$asacrifice =653 \\$areparation =653 \\$aBaron van Münchhausen =653 \\$aEdgar Allan Poe =653 \\$aFranz Kafka =653 \\$aJacques Lacan =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0520.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0520.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02789nam 22004092 4500 =001 895b271b-6669-43cc-842d-3f92a39fd463 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692496916$q(Paperback) =024 7\$a10.21983/P3.0112.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRNT$2bicssc =072 7$aNAT025000$2bisacsh =245 00$aOceanic New York /$cedited by Steve Mentz. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (250 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis volume comprises a three-fold object, Book and Ocean and New York City.If this Book were Ocean, how would it feel between your fingers? Wet and slippery, just a bit warmer or colder than the air around it, since the Ocean is our planet’s greatest reservoir of heat, a sloshing insulator and incubator girdling our globe. If its pages were New York City, how would they abrade your imagination? Human and teeming, endlessly humming along with that same old tune. Imagine that these three things were one thing. All together: Book and Ocean and New York City. During the long historical pause between the day the last sailing ship docked at South Street and that day in October 2012 when Hurricane Sandy brought the waves back in fury, New York turned its back on the sea. This Book remembers that the City was founded on Ocean, peopled by its currents, grew rich on its traffic. The storm taught what we should never have forgotten: under New York’s asphalt lies not beach but Ocean. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aoceanic studies =653 \\$acultural studies =653 \\$aecology =653 \\$aNew York City =653 \\$aenvironmental humanities =700 1\$aMentz, Steve,$eeditor.$uSt. John’s University.$0(orcid)000000027118798X$1https://orcid.org/0000-0002-7118-798X =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0112.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0112.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03981nam 22006492 4500 =001 a8bf3374-f153-460d-902a-adea7f41d7c7 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020950250 =020 \\$z9781953035226$q(Paperback) =020 \\$a9781953035233$q(PDF) =024 7\$a10.21983/P3.0354.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aAMCR$2bicssc =072 7$aARC001000$2bisacsh =072 7$aAMA$2thema =072 7$aAMCR$2thema =245 00$aŒ Case Files, Vol. 01 /$cedited by Simone Ferracina. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (302 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOver the past ten years, Organs Everywhere (Œ) has promoted conversations that approach architectural design from the edges of the discipline — testing its boundaries, technologies, methods and (e)valuation systems, and keeping them unstable. It has valued transdisciplinary, speculative and irreverent explorations over strict publishing formats and academic purity, promoting a profanatory and open-ended ethos.Each issue has strung together disparate organs and limbs, activating precarious couplings and associations, and testing new metabolisms and assemblages. And so does the first volume of Œ Case Files continue its commitment to the making and unmaking of monsters, both by anthologising past contributions into fresh configurations and designs, and by combining them with entirely new articles and voices. Here, philosophers, designers, experimental architects, artists, science fiction writers, activists, and poets shift, expand and re-imagine notions of space, time, inhabitation, technology, knowledge, use, value and experience. A patchwork of essays, stories, design experiments, buildings, art installations, drawings, prose poems, photographs and speculative projects collide in the book, infecting simple disciplinary orthodoxies with doubt and potentials, uncertainty and hope — indecisive photons and softness; metatactility and haunted houses; neurodiversity and protocells; prosthetics, grease and darkness; post-human scenographies, software and GPS anklets; anthropocenic devices, paprika and synthetic biology. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aSoft architecture =653 \\$aneurodiversity =653 \\$asynaesthesia =653 \\$amonstrosity =653 \\$aembodiment =653 \\$aecological design =653 \\$asoftware =653 \\$aprototyping =653 \\$aexperimental architecture =653 \\$adesign theory =653 \\$aprosthesis =653 \\$aphilosophy =653 \\$aanimal architecture =653 \\$aatmosphere =653 \\$aspeculative design =653 \\$aliving technology =653 \\$ainternet-of-things =653 \\$aAnthropocene =653 \\$apost-human scenography =653 \\$aaugmented reality. =700 1\$aFerracina, Simone,$eeditor.$uUniversity of Edinburgh.$0(orcid)0000000175336471$1https://orcid.org/0000-0001-7533-6471 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0354.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0354.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03381nam 22004572 4500 =001 30fa2ca0-d82f-4981-bf56-0481ac6c58be =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018931072 =020 \\$z9781947447486$q(Paperback) =020 \\$a9781947447493$q(PDF) =024 7\$a10.21983/P3.0195.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005030$2bisacsh =100 1\$aWijnberg, Nachoem M.,$eauthor.$uUniversity of Amsterdam. =245 10$aOf Great Importance /$cNachoem M. Wijnberg; translated by David Colmer. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (136 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOf Great Importance is Nachoem Wijnberg’s 16th volume of poetry. One of the most prominent living Dutch writers, Wijnberg’s poetry is known for its deceptively plain language and his poems, according to the poet himself, can be read well by anyone who can read a newspaper.The poems in Of Great Importance engage with statecraft, economics, and world history, lyricizing taxes and debts, stocks and flows, citizenship and labor contracts, notaries and accountants, factories and strikes, freedoms and fundamental rights, banks and railroads, property rights and codes of honor, sieges and treaties, gods and generals, how to make money and how to win elections, when to declare war and when to found a new state.Wijnberg’s engagement with these and other related topics is based on his belief that economics, politics, and history — and all of the tangled relations therein, no matter how asymmetrical — concern how people live together, and his poetry is a creative form of historiography that attends to tracing the theater of an affective commonwealth, in which he builds upon the best work of those thinkers and poets who came before — including Karl Marx, John Maynard Keynes, Heinrich Heine, Czesław Miłosz, and especially C.P. Cavafy. Ultimately, Wijnberg understands that “Something important that changes the world only happens if there is a lever with a fulcrum you cannot know enough about,” and yet his poetry gorgeously illuminates this fulcrum. =536 \\$aDutch Foundation for Literature =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aworld history =653 \\$ageopolitics =653 \\$aeconomics =653 \\$astatecraft =700 1\$aColmer, David,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0195.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0195.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03442nam 22004212 4500 =001 10a41381-792f-4376-bed1-3781d1b8bae7 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615822549$q(Paperback) =024 7\$a10.21983/P3.0031.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aMunro, Michael,$eauthor. =245 10$aOf Learned Ignorance :$bIdea of a Treatise in Philosophy /$cMichael Munro. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (58 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat is a problem? What’s asked in that question, and how does one even begin to take its measure? How else could one begin, except as one does with any other problem—by way of its impulsion.Of Learned Ignorance: Idea of a Treatise in Philosophy is about philosophy because philosophy is about problems: philosophy, in a word, is where problems become a problem.After Anti-Oedipus, in the Kafka book and in A Thousand Plateaus, what Deleuze and Guattari counsel, strikingly, is sobriety. Sobriety is what they praise in Kafka. And it is sobriety that seems above all else to be necessary here. (Steven Shaviro has pointed out the prominence of structure in Deleuze’s writing: “even when Deleuze’s prose, by himself or with Guattari, seems to be ranging anarchically all over the place, in fact it has a rigid and unvarying architecture, which is what keeps it from falling apart.”)Of Learned Ignorance is a dead letter because it names a problem. It’s a dead letter because it is, cautiously, a love letter. It’s a dead letter because it lovingly stages an experiment in whimsy, and perhaps above all, because it is problematic (in the Kantian sense): It is a (sober) attempt at exemplifying what it talks about — and what eludes it: A series of footnotes, with blank (transcriptive) pages above, effects something like the integration of a differential, the reciprocal determination where the sources enter into in relation to one another in order to produce a paper, essay, or (inexistent) (chap)book. Of Learned Ignorance, in facing down a problem, makes a wager; it courts failure; it puts it all on the line. All, yes, for love — a kind of love … (of wisdom?) =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$aEmmanuel Kant =653 \\$aFranz Kafka =653 \\$aLouis Althusser =653 \\$aGilles Deleuze =653 \\$aFelix Guattari =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0031.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0031.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03086nam 22004332 4500 =001 b43ec529-2f51-4c59-b3cb-394f3649502c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017945437 =020 \\$z9781947447042$q(Paperback) =020 \\$a9781947447059$q(PDF) =024 7\$a10.21983/P3.0174.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aLAB$2bicssc =072 7$aLAW021000$2bisacsh =100 1\$aClifton, Christopher,$eauthor. =245 10$aOf the Contract /$cChristopher Clifton. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (162 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOf the Contract is a version of a text that is as old as any memory, or a form of legal instrument that constitutes the basis of the world in which its terms have been translated. The text remains as open to renewal as that world remains to future alteration, and the terms are both already past, and always yet to come. The notion of the debt that is presented by the contract corresponds to a conception of accountancy and finance that provide a new approach to the contemporary problem of the sense of that external to the terms of human access. A reinterpretation of the philosophical tradition that runs through Levinas and Heidegger to Kant, Of the Contract is also grounded in the medieval tradition that was centered on the notion of “contraction,” and its writing was inspired by forms of life such as those found in the development of monastic constitutions, and the novels of knight errantry. It is also an oblique contribution to the recent discussions on the nature of debt, and is deeply marked by an awareness of climate change, and the insufficiencies of capital to overcome this crisis.All of these concerns however were contracted in a more acute awareness of the process of expression, and the work is given first of all as literature. It is the nature of the terms that they are open to untold interpretations. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$alegal philosophy =653 \\$acontract law =653 \\$afinance =653 \\$adebt =653 \\$acapital =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0174.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0174.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03093nam 22004092 4500 =001 7aa9a630-c5e0-42e8-825c-c854dfbffb56 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615785387$q(Paperback) =024 7\$a10.21983/P3.0025.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI048000$2bisacsh =100 1\$aWoodard, Ben,$eauthor.$uWestern University.$0(orcid)0000000160175193$1https://orcid.org/0000-0001-6017-5193 =245 10$aOn an Ungrounded Earth :$bTowards a New Geophilosophy /$cBen Woodard. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (118 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aFor too long, the Earth has been used to ground thought instead of bending it; such grounding leaves the planet as nothing but a stage for phenomenology, deconstruction, or other forms of anthropocentric philosophy. In far too much continental philosophy, the Earth is a cold, dead place enlivened only by human thought—either as a thing to be exploited, or as an object of nostalgia. Geophilosophy seeks instead to question the ground of thinking itself, the relation of the inorganic to the capacities and limits of thought. This book constructs an eclectic variant of geophilosophy through engagements with digging machines, nuclear waste, cyclones and volcanoes, giant worms, secret vessels, decay, subterranean cities, hell, demon souls, black suns, and xenoarcheaology, via continental theory (Nietzsche, Schelling, Deleuze, et alia) and various cultural objects such as horror films, videogames, and weird Lovecraftian fictions, with special attention to Speculative Realism and the work of Reza Negarestani. In a time where the earth as a whole is threatened by ecological collapse, On an Ungrounded Earth generates a perversely realist account of the earth as a dynamic engine materially invading and upsetting our attempts to reduce it to merely the ground beneath our feet. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ageophilosophy =653 \\$aspeculative realism =653 \\$anature =653 \\$adark vitalism =653 \\$ascience fiction =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0025.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0025.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02518nam 22003852 4500 =001 d24a0567-d430-4768-8c4d-1b9d59394af2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709163$q(Paperback) =024 7\$a10.21983/P3.0219.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =072 7$aPHI004000$2bisacsh =245 00$aOn Blinking /$cedited by Jeremy Fernando, Sarah Brigid Hannis. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (174 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOn Blinking opens a dossier on seeing. It looks not only to the epistemological sense of what it means to see or the hermeneutical sense of what is the meaning of that which is seen but attends to various sites of knowledge – photography, literature, and philosophy. And in doing so, it questions the privileging of presence and sight in Western thought. Thus, this book, through the essays – “Emerging Sight, Emerging Blindness” (Brian Willems); “Augen, Blicke, Stätten” (Julia Hölzl); “At the Risk of Love” (Jeremy Fernando); and “Suspended in a Moving Night: Photography, or the Shiny Relation Self-World” (Jessica Aliaga Lavrijsen) – attempts to address the question what is seeing. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary theory =653 \\$aepistemology =700 1\$aFernando, Jeremy,$eeditor.$uNational University of Singapore.$0(orcid)0000000176034117$1https://orcid.org/0000-0001-7603-4117 =700 1\$aHannis, Sarah Brigid,$eeditor.$uEuropean Graduate School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0219.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0219.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03852nam 22004212 4500 =001 dbe1ab13-7c70-444e-840d-20e46f04cc98 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615934020$q(Paperback) =024 7\$a10.21983/P3.0055.0.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =072 7$aLIT011000$2bisacsh =245 00$aOn Style :$bAn Atelier /$cedited by Eileen A. Joy, Anna Kłosowska. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (154 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aScholarship in medieval studies of the past 20 or so years has offered some provocative experiments in, and elegant exempla of, style. Scholars such as Anne Clark Bartlett, Kathleen Biddick, Catherine Brown, Brantley Bryant, Michael Camille, Jeffrey Jerome Cohen, Carolyn Dinshaw, James Earl, L.O. Aranye Fradenburg, Roberta Frank, Amy Hollywood, Cary Howie, C. Stephen Jaeger, Eileen Joy, Anna Klosowska, Nicola Masciandaro, Peggy McCracken, Paul Strohm, David Wallace, and Paul Zumthor, among others, have blended the conventions of academic writing with those of fiction, drama, memoir, comedy, polemic, and lyricism, and/or have developed what some would describe as elegant, and arresting (and in some cases, deliciously difficult) prose styles. As these registers merge, they can produce what has been called a queer historiographical encounter (or in queer theorist Elizabeth Freeman’s terms, “an erotohistoriography”), a “poetics of intensification,” and even a “new aestheticism.” The work of these scholars has also opened up debates (some rancorous) that often install what the editors of this volume feel are false binaries between form and content, feeling and thinking, affect and rigor, poetry and history, attachment and critical distance, enjoyment and discipline, style and substance. As Anna Klosowska writes in her contribution to this volume,The question of style, as it applies to medieval studies, is precisely the overcoming of that dichotomy between Nature and Man: a third element. And when the critique proceeds through the denunciation of the inimitability of someone’s style, as if it were the third sex, ungenerative, queer, sterile, sodomitic, lesbian, etc., the critic unconsciously puts his finger on exactly what style is; but that critic is mistaken about the style’s supposedly non-generative powers. In fact, style, neither fact nor theory but facilitating the transition between the two, is … the generative principle itself. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afashion =653 \\$astyle =653 \\$aliterature =653 \\$acultural theory =653 \\$ahistory =700 1\$aJoy, Eileen A.,$eeditor.$uSouthern Illinois University Edwardsville.$0(orcid)0000000253093189$1https://orcid.org/0000-0002-5309-3189 =700 1\$aKłosowska, Anna,$eeditor.$uMiami University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0055.0.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0055.0.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03732nam 22005892 4500 =001 f1badc5e-5363-45e7-8577-845a32ea340c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024937652 =020 \\$z9781685711528$q(Paperback) =020 \\$a9781685711535$q(PDF) =024 7\$a10.53288/0462.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hger =072 7$aMMH$2bicssc =072 7$aBGTA$2bicssc =072 7$aMJCG1$2bicssc =072 7$aMED105000$2bisacsh =072 7$aBIO017000$2bisacsh =072 7$aMED102000$2bisacsh =072 7$aMKL$2thema =072 7$aDNBT1$2thema =072 7$aMKLD$2thema =072 7$a3MPBGJ-DE-H$2thema =100 1\$aBuck, Dorothea,$eauthor. =245 10$aOn the Trail of the Morning Star :$bPsychosis as Self-Discovery /$cDorothea Buck; edited by Susanne Antonetta; translated by Eva Lipton. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (274 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 1936, at age nineteen, Dorothea Buck followed the trail of a star along the mudflats of her North Sea home, Wangerooge Island. Hospitalized at a Christian institution called Bethel, she was sterilized under Nazi law upon a diagnosis of schizophrenia.Buck lost her lifelong dream of becoming a teacher—the sterilized could not get a college degree. Instead, she became an artist and activist. Buck, who lived to the age of 102, fought throughout her life for psychiatric reform. She created her own form of psychiatric treatment, which she called “trialogue,” in which psychosis experiencers, family, and clinicians join together to examine the experience of psychosis. Trialogue seminars still take place today.Buck also demanded recognition of the Nazi murders of the disabled and the mentally ill. Many of these victims were psychiatric patients gassed in chambers built into six of Germany’s asylums. In 2008, Buck told an audience commemorating these murders that there must be “no second-class victims” of Nazi rule.Biologically based psychiatry, Buck believed, would always reduce a condition like hers to something “genetically caused, meaningless, and incurable.” Like fellow German Paul Schreber’s Memoirs, Buck’s On the Trail of the Morning Star calls for a radical rethinking of what it means to live with and in psychosis. This publication is the first time one of her major writings appears in English. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aneurodiversity =653 \\$apsychosis =653 \\$apsychiatry =653 \\$apatient activism =653 \\$aNazi Germany =653 \\$aantipsychiatry movement =700 1\$aAntonetta, Susanne,$eeditor. =700 1\$aLipton, Eva,$etranslator. =700 1\$aKrieger, Hans,$eforeword by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0462.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0462.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05206nam 22005292 4500 =001 824e1b3c-5641-4545-a438-723f74bf4bf2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024938555 =020 \\$z9781685710781$q(Paperback) =020 \\$a9781685710798$q(PDF) =024 7\$a10.53288/0402.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPJ$2bicssc =072 7$aHPM$2bicssc =072 7$aPHI013000$2bisacsh =072 7$aPHI015000$2bisacsh =072 7$aQDTJ$2thema =072 7$aQDTM$2thema =100 1\$adel Val, Jaym*/Jaime,$eauthor. =245 10$aOntohackers: Radical Movement Philosophy in the Age of Extinctions and Algorithms, Part I :$bRadical Movement Philosophy and the Body Intelligence R/evolution /$cJaym*/Jaime del Val. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (266 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOntohackers redefines what movement, worlds, and bodies are through the sense of proprioception reconceptualized as formless fluctuation field, a movement matrix that is itself also thought, and which underlies all life forms and fields including the inorganic. Our worlds are made of endless such entangled fields n-folding in never ending variation or enferance. The current planetary crisis has emerged due to an accidental evolutionary alignment, narrowing, and impoverishment of that matrix’s indeterminacy, that appeared gradually and eventually with bipedalism, and which created an imbalance between the larger proprioceptive field and its brain, and made the atrophied body extend itself technically in geometric fields gradually covering the planet, along with its fears, with disastrous consequences that are unleashing an unprecedented type of mass extinction and species suicide.The reply to this crisis – which is urgently due if we are to reduce even slightly the collapse coming up over the next decades – is in recovering a lost sensorimotor plasticity which is also cognitive, affective, and relational plasticity, through developing movement technes for cultivating Body Intelligence (BI), reversing and taking elsewhere the failed evolution culminating in AI, stepping down from humanist suprematist pedestals, undoing our dependency from unsustainable killing machines of sedentary consumerism that impoverish experience, stopping the reproduction of a species that has become plague (by reversing heteronormative reproductive dogmas till we reach preagricultural population levels), and recovering the joys of moving with the world, in symbiotic mutation, towards unprecedented evolutionary variations: this is our cosmic responsibility for all life on Earth.The book’s structure expresses Enferance Theory with regard to how processes of becoming have a triple movement: an incipiency unfolding the field (Part I); a condensation-expansion where the field acquires full consistency (Part II), and a resonance or memory of the field relating to other fields (Part III).Part I includes Books 1 to 3 out of 7. The preface sets the context of the book: the extinction crisis. Book 1 provides an introduction to the entire field of the book and metareflects on the book’s structure and process. Book 2 is a full treatise on proprioception, developing the theory of Body Intelligence and addressing core issues of cognition, perception, communication, and an ontological redefinition of the body as proprioceptive swarm. Book 3 develops all core concepts of Radical Movement Philosophy, unfolding into several sections, first introducing the fluctation, field, and swarm theory, secondly the core concepts of clinaos (indeterminacy), metabody (consistency), and intraduction (variation), coming together in the concept of enferance. Finally, another triad further unfolds the previous as rhythm (affect), orientation (desire), and contact (sex), closing with an orgiastic cosmo-ontology that opens the way to Part II. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aalgorithms =653 \\$achaosmology =653 \\$ametaformance =653 \\$ametabodies =653 \\$ametahumanism =653 \\$aplanetary holocaust =653 \\$aproprioceptive swarm =653 \\$aradical movement philosophy =653 \\$atrash-humanism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0402.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0402.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02899nam 22004212 4500 =001 e1f74d6b-adab-4e56-8bc9-6fbd0eaab89c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615947686$q(Paperback) =024 7\$a10.21983/P3.0060.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPWJ$2bicssc =072 7$aPOL042010$2bisacsh =245 00$aOntological Anarché :$bBeyond Materialism and Idealism /$cedited by Duane Rousselle, Jason Adams. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (284 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aRadical theory has always been beset by the question of ontology, albeit to varying degrees and under differing conditions. In recent years, in particular, political metaphysics has returned with force: the rise of Deleuze-influenced “new materialisms,” along with post-/non-Deleuzian Speculative Realism (SR) and Object-Oriented Ontology (OOO), all bear testament to this. In this same period, anarchism has returned as a major influence on social movements and critical scholarship alike. What, then, are some of the potential resonances between these currents, particularly given that anarchism has so often been understood/misunderstood as a fundamentally idealist philosophy? This special issue of Anarchist Developments in Cultural Studies (Issue 2013.2) considers these questions in dialogue with the new materialisms, Speculative Realism, and Object-Oriented Ontology, in order to seek new points of departure. It is in this sense that ADCS also strives to play a critical role recent discussions in the wider political, cultural, and philosophical milieu. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanarchy =653 \\$amaterialism =653 \\$aontology =653 \\$aphilosophy =653 \\$aidealism =700 1\$aRousselle, Duane,$eeditor.$uEuropean Graduate School. =700 1\$aAdams, Jason,$eeditor.$uGrand Valley State University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0060.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0060.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04034nam 22005292 4500 =001 cd7c07af-840b-483b-af13-94320cb9aaaf =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023939914 =020 \\$z9781685711382$q(Paperback) =020 \\$a9781685711399$q(PDF) =024 7\$a10.53288/0454.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aMJNA$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aFIC079000$2bisacsh =072 7$aDCF$2thema =072 7$a5PMH$2thema =100 1\$aWolfond, Adam,$eauthor.$0(orcid)0000000245610246$1https://orcid.org/0000-0002-4561-0246 =245 10$aOpen Book in Ways of Water /$cAdam Wolfond. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (100 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Open Book in Ways of Water, poet and artist Adam Wolfond explores the synaesthetic quality of autistic perception, the way in which water in its different materializations shapes and channels language. Building on notions such as “wetness,” “streams,” and “currents,” Wolfond constructs a linguistic universe in which writing and perception merge, move, and “pace to gether” – echoing both the togetherness of the senses and the gathering rhythms of water. Open Book in Ways of Water is as much a book of poetry and a book about poetry, a self-reflection in an endlessly moving and transforming element.As the author himself explains:Language is a way to understand each other but it is also reductive in the ways that it is abstracted and non-sensuous, and open writing as movement tends to be ignored as autistics are forced into neurotypical ways of seeing, and the thinking around artistic practices feels of a pace that intensifies the use of forms forming, and similarities with open processes are languaging the way of water, making language about artful relations with the more than human.Water is a game of ways and patterns that wave and ripple and can pull us under, the talk is about surfacing but languaging is about feeling, moving the ways that it makes are having variances moving the thresholds in thinking feeling of a rally that comes from cutting the grammars out and that is the way of perception that is cut by grammar and people need art to dance this dance of relation.A man of autism answers the ways of the body much of the time and that means my body rallies the artful atmospheres that are dancing me and the real feeling can dance the atmospheres as my body presence and pace shifts other bodies to be free. Having a ticcing body is making the dance about disorder but really it is about a different and diverse way of languaging with many feelings and bathing and immersing and I don’t have any other way. =536 \\$aToronto Arts Council =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aautism =653 \\$aneurodiversity =653 \\$aart =653 \\$awater =653 \\$amovement =653 \\$alanguage =653 \\$aecoproprioception =700 1\$aManning, Erin,$epreface by.$uConcordia University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0454.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0454.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03481nam 22004692 4500 =001 4a42f23b-5277-49b5-8310-c3c38ded5bf5 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018957173 =020 \\$z9781947447837$q(Paperback) =020 \\$a9781947447844$q(PDF) =024 7\$a10.21983/P3.0210.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFH$2bicssc =072 7$aBIO017000$2bisacsh =072 7$aHEA036000$2bisacsh =072 7$aDNC$2thema =072 7$aJBFN$2thema =100 1\$aDolphin-Krute, Maia,$eauthor. =245 10$aOpioids :$bAddiction, Narrative, Freedom /$cMaia Dolphin-Krute. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (190 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAn epidemic is a feeling set within time as much as it is a matter of statistics and epidemiology: it is the feeling of many of us in the same desperate place at the same desperate time. Opioid epidemic thus names a present moment — at once historic and historical — centered on the substance of opioids as much as it names the urgency of all of us who are currently in proximity to these substances. What is the relationship between these historic and historical moments, the present moment, the history of pharmacological capitalism, and a set of repeated neurological activities, as well as human loss and desire, that has fueled the exponential rise in the rates of opioid use and abuse between 2000-2018?Opioids: Addiction, Narrative, Freedom is an auto-ethnography written from deep within—biologically within—this opioid epidemic. Tracing opioids around and through the bodies, governmental, and medical structures they are moving and being moved through, Opioids is an examination of what it means to live within an environment saturated with a substance of deep economic, political, neuroscientific, and pharmacological implications. From exploring media coverage of the epidemic and emerging medical narratives of addiction to detailing the legal inscription of differences between “pain patients” and people addicted to drugs, Opioids consistently asks: what is it like to live within an epidemic? What forms of freedom become possible when continually modulated by our physical experiences of the material proximities of an epidemic?How do you live with something for a long time =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aaddiction =653 \\$aopioid epidemic =653 \\$aethnography =653 \\$amedicine =653 \\$achronic illness =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0210.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0210.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02855nam 22004092 4500 =001 a3779e1d-5b3a-4bd0-b193-6e8a0ad8bde3 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615744797$q(Paperback) =024 7\$a10.21983/P3.0019.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aFAM014000$2bisacsh =100 1\$aBowker, M.H.,$eauthor.$uMedaille College.$0(orcid)0000000155395589$1https://orcid.org/0000-0001-5539-5589 =245 10$aOstranenie :$bOn Shame and Knowing /$cM.H. Bowker. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (50 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOstranenie, the term for defamiliarization introduced by Russian writer and critic Victor Shklovsky, means, among other things, to see in strangeness. To see in strangeness is to participate in an illusion that is more real than real. It may be achieved by (re)presenting the surface as the substance, the play as the thing, or by examining (from exigere: to drive out) what is present before one’s eyes. Ultimately, ostranenie means confessing one’s complicity in making known what is known.M.H. Bowker’s Ostranenie: On Shame and Knowing is a meditation upon the moment of a mother’s death: a moment of defamiliarization in several senses. The body of the work consists of footnotes which elaborate, by exegesis, by parataxis, and sometimes by surprise, the intimate and often hidden relationships between parent and child, illusion and knowledge, shame and loss. These elaborations raise questions about the power of the familiar, the limitations of discursive thought, and the paradoxical nature of the interpersonal, political, and spiritual bargains we make for the sake of security and freedom. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemoir =653 \\$afamily =653 \\$atherapy =653 \\$ashame =653 \\$apoetry =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0019.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0019.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02930nam 22004092 4500 =001 0e43d1f5-30f5-4001-88c0-9b99d00a43dc =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692715185$q(Paperback) =024 7\$a10.21983/P3.0151.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aLindsay, David,$eauthor. =245 10$aOther Grounds :$bBreaking Free of the Correlationist Circle /$cDavid Lindsay. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (164 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIs it possible to get outside your assumptions and know the world for what it is? As the 20th century came to a close, the verdict seemed to be a resounding “no,” but in recent years a renaissance in speculative thought has sparked new lines of inquiry into de-centering the human. Other Grounds enters this conversation with a decidedly lively voice and an ambitious project to match. Not only can we believe in a reality uncolored by our imaginations, says Lindsay, we can also experience it.Closely argued yet expansive in its reach, Other Grounds is built on the premise that we are by our very nature de-centered – that more than one agent is at work in the human body, and that this plurality can serve as a gateway to the experience of otherness in general. Leading the reader with a steady hand through the literature on coincident entities, set theory and the kinesthetic work of F.M. Alexander, Lindsay makes the case for the possibility of objects interceding on us from their own grounds. The result is that rare specimen in the annals of critical thought: a book that is as reasoned as it is readable, as sage as it is sardonic, and unmistakably original throughout. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$aobject-oriented ontology =653 \\$amaterialism =653 \\$athing theory =653 \\$aweird realism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0151.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0151.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03988nam 22005172 4500 =001 bc0440f4-df75-452d-b6ba-5cdd8ac0f7ba =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021949029 =020 \\$z9781685710040$q(Paperback) =020 \\$a9781685710057$q(PDF) =024 7\$a10.53288/0367.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGB$2bicssc =072 7$aAKB$2bicssc =072 7$aART037000$2bisacsh =072 7$aART027000$2bisacsh =072 7$aAGB$2thema =072 7$aAKB$2thema =072 7$aAGT$2thema =245 00$aOut of Place :$bArtists, Pedagogy, and Purpose /$cedited by Tim Doud, Zoë Charlton. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (432 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBroad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity.With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist–scholars who are doing transformative and inter/transdisciplinary work within their respective institutions.Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, ‘sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aart curation =653 \\$aart education =653 \\$aart collectives =653 \\$apedagogy =653 \\$aexhibition spaces =653 \\$agalleries =700 1\$aDoud, Tim,$eeditor.$uAmerican University. =700 1\$aCharlton, Zoë,$eeditor.$uAmerican University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0367.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0367.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03570nam 22005892 4500 =001 97d205c8-32f0-4e64-a7df-bf56334be638 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022939561 =020 \\$z9781685710941$q(Paperback) =020 \\$a9781685710958$q(PDF) =024 7\$a10.53288/0345.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$htlh =072 7$aFLS$2bicssc =072 7$a2ZX$2bicssc =072 7$aDRA006000$2bisacsh =072 7$aPOE014000$2bisacsh =072 7$aFLS$2thema =072 7$a2ZX$2thema =245 00$apaq'batlh :$bThe Klingon Epic /$cedited by Floris Schönfeld, Kees Ligtelijn, Vincent W.J. van Gerven Oei, David Yonge-Mallo; translated by Marc Okrand. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (204 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$apaq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what it is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language.The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aconlang =653 \\$aKlingon =653 \\$aepic literature =653 \\$aStar Trek =653 \\$aspace opera =653 \\$aKahless the Unforgettable =653 \\$amythology =700 1\$aSchönfeld, Floris,$eeditor. =700 1\$aLigtelijn, Kees,$eeditor. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aOkrand, Marc,$etranslator. =700 1\$ajen puqloD, DeSDu',$epreface by. =700 1\$aYonge-Mallo, David,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0345.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0345.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03033nam 22004332 4500 =001 e81ef154-5bc3-481b-9083-64fd7aeb7575 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20112011\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709125$q(Paperback) =024 7\$a10.21983/P3.0215.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$atlh =072 7$aFLS$2bicssc =245 00$apaq'batlh :$bThe Klingon Epic /$cedited by Floris Schönfeld, Kees Ligtelijn, Vincent W.J. van Gerven Oei; translated by Marc Okrand. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2011. =264 \4$c©2011 =300 \\$a1 online resource (210 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$apaq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of the Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of our own ancient heroes Hercules, Ulysses and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aspace opera =653 \\$aStar Trek =653 \\$aKlingon =653 \\$aconlang =700 1\$aSchönfeld, Floris,$eeditor. =700 1\$aLigtelijn, Kees,$eeditor. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of New York Tirana.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aOkrand, Marc,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0215.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0215.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03540nam 22004452 4500 =001 63b0e966-e81c-4d84-b41d-3445b0d9911f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019955875 =020 \\$z9781950192632$q(Paperback) =020 \\$a9781950192649$q(PDF) =024 7\$a10.21983/P3.0281.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aLIT004150$2bisacsh =100 1\$aSchad, John,$eauthor.$uLancaster University. =245 10$aParis Bride :$bA Modernist Life /$cJohn Schad. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (358 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn July 1905, in Paris, a young Anglo-French woman called Marie Wheeler became the bride of a Swiss émigré, Johannes Schad. Immediately after the wedding, Marie and Johannes moved to London. And there they lived for nineteen years. In 1924, however, something happened to change their lives, and Marie, in many respects, simply disappeared.Paris Bride is an exploration of the lost life of Marie Schad, of whom little is known beyond a few legal papers, a number of letters, some photographs, the diaries of a friend, and her obituary. With so little else known of Marie’s life, this book seeks to read her back into existence by drawing on a host of contemporaneous texts -- largely modernist texts, by Virginia Woolf, Franz Kafka, the Paris Surrealists, Stéphane Mallarmé, Oscar Wilde, Katherine Mansfield, and Walter Benjamin. All of the selected authors are connected with Marie through some coincidence of time, place, or theme.In an attempt to do justice to Marie’s in-visibility, or to her un-life, Paris Bride takes as its guide Wilde’s declaration that “the true function of criticism is to see the object as in itself it really is not.” In other words, this book seeks to evade the positivist or realist assumptions of conventional literary criticism, and instead pursue a post-critical method with its sources and texts. Paris Bride is not confined to academic discourse but instead draws on a range of literary genres and devices that are more in sympathy with the non-realist character of modernism itself -- devices such as fragmentation, flânerie, textual collage, stream of consciousness, imagism, perspectivism, dream-text, the absurd, etc. Ultimately, Paris Bride is a modernistic experiment in life-writing. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aParis =653 \\$aflanerie =653 \\$aliterary criticism =653 \\$amodernism =653 \\$abiography =653 \\$acollage =653 \\$asurrealism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0281.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0281.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04364nam 22004572 4500 =001 90b5558c-19fe-4ee2-8a7c-5ea6a6bb8d2f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018954815 =020 \\$z9781947447813$q(Paperback) =020 \\$a9781947447820$q(PDF) =024 7\$a10.21983/P3.0232.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aGTE$2bicssc =072 7$aLIT006000$2bisacsh =245 00$a'Pataphilology :$bAn Irreader /$cedited by Sean Gurd, Vincent W.J. van Gerven Oei. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (240 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement.In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects.Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAlfred Jarry =653 \\$agrammar =653 \\$aphilology =653 \\$apataphysics =653 \\$aetymology =653 \\$asemiotics =700 1\$aGurd, Sean,$eeditor.$uUniversity of Missouri. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0232.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0232.1.00_frontcover.jpeg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05339nam 22004932 4500 =001 d8284a1f-51ac-4ecd-99a6-45e5644db4c8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\alb\d =020 \\$z9780615898711$q(Paperback) =024 7\$a10.21983/P3.0050.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aalb$aeng =072 7$aJFCA$2bicssc =072 7$aEDU040000$2bisacsh =072 7$aPHI035000$2bisacsh =072 7$aJNA$2thema =072 7$aQDHR$2thema =245 00$aPedagogies of Disaster /$cedited by Adam Staley Groves, Nico Jenkins, Vincent W.J. van Gerven Oei. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (552 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =505 0\$aVincent W.J. van Gerven Oei · OpeningChristopher Fynsk · A Pedagogy on the Verge of DisasterOliver Feltham · Desocializing the School: Education and the Action-ZoneAdam Staley Groves · Sandy Hook University: Poetic Violence, Scope, and Style of ImaginationJulia Hölzl · A Call for Thinking (The Disaster)John Van Houdt · The Rhetoric of Disaster: Surviving the End of the HumanitiesVincent W.J. van Gerven Oei · A Passion for Yes: Coming Out and AffirmationEdith Doron · Welcoming the Stranger: From Social Inclusion to Exilic EducationUrok Shirhan · Occupy Baghdad: On the Occupation of ImagesJonas Staal · Art After Democratism: The Pedagogy of the New World SummitKatharina Stadler · “Reading on Disaster” Intervention: Imaginaries in Participatory Artistic PracticeManifesto for Education in AlbaniaAndreas Vrahimis · Philosophy and Humanistic Education: J.S. Mill’s Catastrophic PedagogyMatthew Charles · Walter Benjamin and the Inhumanities: Towards a Pedagogical Anti-NietzscheanismNico Jenkins · Philosophy beyond the Peras: Thinking with/in the PeripheryJustin Joque · Cyber-Catastrophe: Towards a New Pedagogy of EntropyTijana Stevanović · Faculty in Withdrawal: Not To Know and the Uncertainties of Self-InstitutionalizationDenisa Kera · On Prototypes: Should We Eat Mao’s Pear, Sail Saint-Exupéry’s Boat, Drink with Heidegger’s Pitcher, or Use Nietzsche’s Hammer to Respond to the Crisis?Sina Badiei · The Necessity of Education: Or How Can One Still Be an Althusserian in the Wake of Badiou?Nick Skiadopoulos · The University Must Be TranscendedJudith Balso · Compter sur l’impossible inexistant / To Rely on the Inexistent ImpossibleConstitution of HappinessJonida Gashi · Translator’s Note =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWe live in an era where the university system is undergoing great changes owing to developments in financing policies and research priorities, as well as changes in the society in which this system is embedded. This change toward a more market-oriented university, which also has immediate effects in academic peripheries such as the Balkans, the Middle East, or South-East Asia, is of great influence for the pedagogical practice of “less profitable” academic areas such as the Humanities: philosophy, languages, sociology, anthropology, history.Because of the absence of a historically grounded establishment of the Humanities, academic peripheries, usually accompanied by a weak civil society infrastructure, seem to offer the most fertile ground for rethinking the Humanities, their pedagogical practice, and their politics, as well as the greatest threats, such as the ongoing capitalization of research, and profitability as the norm of educational achievement. The sprawling presence of for-profit universities and in academic peripheries such as Albania and Kosovo is indicative of this problematic, as are consistent underfunding of universities and the relentless budget cuts in American and English, and to a lesser extent European, universities. Motivations for this ongoing attack on the university are often driven by a political system or a politics with an aggressive stance to critical thought. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apedagogy =653 \\$ahumanities =653 \\$aphilosophy =653 \\$acatastrophe =653 \\$auniversity =700 1\$aGroves, Adam Staley,$eeditor.$uNational University of Singapore.$0(orcid)0000000218421327$1https://orcid.org/0000-0002-1842-1327 =700 1\$aJenkins, Nico,$eeditor.$uUniversity of Maine. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of Aberdeen.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0050.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0050.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03212nam 22004212 4500 =001 119f1640-dfb4-488f-a564-ef507d74b72d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789491914034$q(Paperback) =024 7\$a10.21983/P3.0225.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$atur =072 7$aYFP$2bicssc =072 7$aJUV002380$2bisacsh =100 1\$aMeseri, Raşel,$eauthor. =245 10$aPen in the Park: A Resistance Fairytale – Pen Parkta: Bir Direniş Masalı /$cRaşel Meseri. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPen in the Park is a unique revolutionary children’s book written by Raşel Meseri and illustrated by Sanne Karssenberg. Meseri narrates the Gezi Park protests in Istanbul through the figure of a penguin named Pen, whogoes on a trip from Antarctica to Gezi Park to save his fellow penguins, and gets involved in various adventures with his friends Chapulletta, the cat Trafo, and the dog Loukanikos.The Gezi movement of 2013–14 started with the threat of the destruction of the Gezi Park, a public space, which became quickly occupied by protestors from all generations and political backgrounds to build a movement that addressed not only the destruction of green areas and gentrification of public space, but also the democratic deficit of the country as such. At the height of the protests, dozens of protesters were killed and thousands injured. As the result of the protests, the park remained a public space and the struggle continues in different forms up to this day.During the protests, penguins were reclaimed as one of the symbols, as the main television channels preferred to show documentaries about the lives of penguins, instead of the uprising in Turkey. In Meseri’s story, Pen the brave penguin, Pen, is both a symbol and an active agent in the course of events, guiding us through the process of political emancipation, democratic experiment, friendship, and solidarity that characterizes the Gezi movement. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aTurkey =653 \\$aGezi park =653 \\$arevolution =653 \\$afairytale =700 1\$aKarssenberg, Sanne,$eillustrator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0225.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0225.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02663nam 22004092 4500 =001 ed1a8fb5-8b71-43ca-9748-ebd43f0d7580 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998531823$q(Paperback) =024 7\$a10.21983/P3.0168.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aMunro, Michael,$eauthor. =245 10$aPhilosophy for Militants /$cMichael Munro. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (80 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a“No longer imminent, the End is immanent.” “Ends are ends,” Frank Kermode goes on to clarify, “only when they are not negative but frankly transfigure the events in which they were immanent.” From its imminence to its immanence, not “negative,” “no longer,” but transformative, how is “the End” in turn “transfigured”? In what may ending be said then to consist?To “the end times” of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and “messianic time”—to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die—from Plato to Montaigne and beyond—one may oppose, in like manner, the writings of Spinoza, who “thinks of death least of all things”—“for nature is Messianic by reason of its eternal and total passing away,” as Benjamin writes—and so in whose pages “wisdom,” transfigured, “is a meditation on life.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$autopia =653 \\$aphilology =653 \\$apoetics =653 \\$aparables =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0168.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0168.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03479nam 22004332 4500 =001 8f2609a9-b833-4ec0-aeda-b844f6a319e0 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237510$q(Paperback) =024 7\$a10.21983/P3.0154.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFD$2bicssc =072 7$aPHI001000$2bisacsh =072 7$aSOC052000$2bisacsh =100 1\$aColey, Rob,$eauthor.$uUniversity of Lincoln. =245 10$aPhotography in the Middle :$bDispatches on Media Ecologies and Aesthetics /$cRob Coley, Dean Lockwood. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (176 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIt’s easy to forget there’s a war on when the front line is everywhere encrypted in plain sight. Gathered in this book’s several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or ‘endarkenment.’ In his Vietnam War memoir, Dispatches, Michael Herr imagines a ‘dropped camera’ receiving ‘jumping and falling’ images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we’re given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphotography =653 \\$amedia studies =653 \\$acultural theory =653 \\$ascience fiction =653 \\$aWilliam Burroughs =700 1\$aLockwood, Dean,$eauthor.$uUniversity of Lincoln. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0154.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0154.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03614nam 22004812 4500 =001 d4a3f6cb-3023-4088-a5f4-147fb4510874 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022940203 =020 \\$z9781685710408$q(Paperback) =020 \\$a9781685710415$q(PDF) =024 7\$a10.53288/0380.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSG$2bicssc =072 7$aLIT004040$2bisacsh =072 7$aLIT014000$2bisacsh =072 7$aDSC$2thema =072 7$a5PB-US-C$2thema =100 1\$aDaddario, Will,$eauthor.$0(orcid)0000000151030718$1https://orcid.org/0000-0001-5103-0718 =245 10$aPitch and Revelation :$bReconfigurations of Reading, Poetry, and Philosophy through the Work of Jay Wright /$cWill Daddario, Matthew Goulish. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (442 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes.By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJay Wright =653 \\$aperformance philosophy =653 \\$aAfrican American poetry =653 \\$agenerative criticism =653 \\$ajoy of reading =700 1\$aGoulish, Matthew,$eauthor.$uSchool of the Art Institute of Chicago.$0(orcid)0000000265224502$1https://orcid.org/0000-0002-6522-4502 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0380.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0380.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02659nam 22004332 4500 =001 0cb39600-2fd2-4a7a-9d3a-6d92b8e32e9e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709194$q(Paperback) =024 7\$a10.21983/P3.0222.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$apor =072 7$aDCF$2bicssc =072 7$aPOE012000$2bisacsh =100 1\$aXavier, Francisco Cândido "Chico",$eauthor. =245 10$aPoetry from Beyond the Grave /$cFrancisco Cândido "Chico" Xavier; translated by Vitor Pequeno. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (244 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPoetry from Beyond the Grave is the first English publication of a large selection of poems by the Brazilian medium and Spiritist leader Francisco Cândido “Chico” Xavier. These poems, originally collected in the volume Parnaso de Além-Túmulo, were dictated to Xavier by a variety of spirits of Brazilian poets from the afterlife, as journeying souls or as witnesses of the spiritual city Nosso Lar, “our house.” Poetry from Beyond the Grave is a veritable collection of haunted writing, in which poets present their posthumous work as if they were alive. The brilliant translation by Vitor Pequeno is supplemented by an extensive afterword by Jeremy Fernando, who traces what it means to speak through the other. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aBrazil =653 \\$aspiritism =653 \\$aspirit medium =700 1\$aPequeno, Vitor,$etranslator. =700 1\$aFernando, Jeremy,$eforeword by.$uEuropean Graduate School.$0(orcid)0000000176034117$1https://orcid.org/0000-0001-7603-4117 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0222.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0222.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02264nam 22004212 4500 =001 69365c88-4571-45f3-8770-5a94f7c9badc =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20112011\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709118$q(Paperback) =024 7\$a10.21983/P3.0213.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afre =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aDCF$2thema =100 1\$aGroves, Adam Staley,$eauthor.$uNational University of Singapore.$0(orcid)0000000218421327$1https://orcid.org/0000-0002-1842-1327 =245 10$aPoetry Vocare /$cAdam Staley Groves. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2011. =264 \4$c©2011 =300 \\$a1 online resource (168 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPoetry Vocare is the first collection of poetry published by young American poet A. Staley Groves. A dense fabric of resemblances and reflections, this work engages with Wallace Stevens, Ossip Mandelstam, and Emily Dickinson. In addition to poems Groves gives a supplement of prose, a short essay titled “Affirmation of Instruction.” Poetry scholar Judith Balso wrote a foreword in French to the work. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aAmerican poetry =653 \\$amodern poetry =700 1\$aBalso, Judith,$eforeword by.$uEuropean Graduate School. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0213.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0213.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03604nam 22004332 4500 =001 d98dcf27-9898-4a48-92cf-18101631afc9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692720547$q(Paperback) =024 7\$a10.21983/P3.0141.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFMP$2bicssc =072 7$aSOC032000$2bisacsh =072 7$aSOC034000$2bisacsh =245 00$aPorno-Graphics and Porno-Tactics :$bDesire, Affect, and Representation in Pornography /$cedited by Eirini Avramopoulou, Irene Peano. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (102 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aPorno-Graphics and Porno-Tactics asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation. In the different contributions which make up this deliberately heterogeneous collection of short, non-canonical essays, such a quest proceeds by re-articulating the aporias of desire, intimacy, touch and seduction. It also relates them to claims of visibility, visions of emancipation and its failures, as well as to the politics of violence that we get exposed to through circulating images and affects. This is an attempt to exceed the limits set by and for ourselves in relation to how we connect to our own bodies, to the bodies of our lovers and to the bodies of the theories we live with, sleep with and dream about – in short, to all that we get attached to.The editors and contributors of this collection do not claim the euphoric potentiality of pornography as necessarily subversive and emancipatory, but are nevertheless open to the possibilities of re-shaping it (in textual, contextual, intertextual, but also affective and embodied forms) through different graphic and tactical/tactile inscriptions. On the one hand, authors reflect on definitions and practices of pornography as a genre adopting specific codes and canons, whether it is concerned with sex acts and the industry of porn or with other predominant forms of representation and the structures of power underlying them. On the other hand, chapters relate to the more affective, libidinal, synaesthetic and inter/subjective dimensions of pornography, and on the capacity of different reappropriations to subvert its limits. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apornography =653 \\$afilm studies =653 \\$agender studies =653 \\$aqueer studies =653 \\$acultural theory =700 1\$aAvramopoulou, Eirini,$eeditor.$uBritish School at Athens. =700 1\$aPeano, Irene,$eeditor.$uUniversità di Bologna. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0141.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0141.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03395nam 22004212 4500 =001 96aee3d0-e618-4fe7-b6a8-87cd3c8f2f93 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692641576$q(Paperback) =024 7\$a10.21983/P3.0133.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSGS$2bicssc =072 7$aLIT015000$2bisacsh =072 7$a5PX-GB-S$2thema =072 7$aDSG$2thema =100 1\$aDionne, Craig,$eauthor.$uEastern Michigan University. =245 10$aPosthuman Lear :$bReading Shakespeare in the Anthropocene /$cCraig Dionne. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (202 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aApproaching King Lear from an eco-materialist perspective, Posthuman Lear examines how the shift in Shakespeare’s tragedy from court to stormy heath activates a different sense of language as tool-being — from that of participating in the flourish of aristocratic prodigality and circumstance, to that of survival and pondering one’s interdependence with a denuded world. Dionne frames the thematic arc of Shakespeare’s tragedy about the fall of a king as a tableaux of our post-sustainable condition. For Dionne, Lear’s progress on the heath works as a parable of flat ontology.At the center of Dionne’s analysis of rhetoric and prodigality in the tragedy is the argument that adages and proverbs, working as embodied forms of speech, offer insight into a nonhuman, fragmentary mode of consciousness. The Renaissance fascination with memory and proverbs provides an opportunity to reflect on the human as an instance of such enmeshed being where the habit of articulating memorized patterns of speech works on a somatic level. Dionne theorizes how mnemonic memory functions as a potentially empowering mode of consciousness inherited by our evolutionary history as a species, revealing how our minds work as imprinted machines to recall past prohibitions and useful affective scripts to aid in our interaction with the environment. The proverb is that linguistic inscription that defines the equivalent of human-animal imprinting, where the past is etched upon collective memory within ‘adagential” being that lives on through the generations as autonomic cues for survival. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aposthumanism =653 \\$aWilliam Shakespeare =653 \\$aliterary criticism =653 \\$aanthropocene =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0133.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0133.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03604nam 22004812 4500 =001 ca9f46ad-5b1b-4991-90d8-ac616a302225 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019947997 =020 \\$z9781950192434$q(Paperback) =020 \\$a9781950192441$q(PDF) =024 7\$a10.21983/P3.0255.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFD$2bicssc =072 7$aSOC052000$2bisacsh =072 7$aJBCT1$2thema =245 00$aPost Memes :$bSeizing the Memes of Production /$cedited by Alfie Bown, Dan Bristow. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (423 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aArt-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation -- memes are the inner currency of the internet’s circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike,  and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. Post-Memes: Seizing the Memes of Production takes advantage of the meme’s subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century’s most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons.With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet’s most viral phenomenon. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemes =653 \\$amedia studies =653 \\$apopular culture =653 \\$aDigital Humanities =653 \\$atechnology =653 \\$asocial media =653 \\$ainternet culture =700 1\$aBown, Alfie,$eeditor.$uUniversity of London. =700 1\$aBristow, Dan,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0255.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0255.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03341nam 22004692 4500 =001 6cf8d32a-92bc-4e43-8881-0ea812d78374 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018936900 =020 \\$z9781947447523$q(Paperback) =020 \\$a9781947447530$q(PDF) =024 7\$a10.21983/P3.0198.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 1\$aeng$hrum =072 7$aHPCF$2bicssc =072 7$aBIO009000$2bisacsh =100 1\$aNoica, Constantin,$eauthor. =245 10$aPray for Brother Alexander /$cConstantin Noica; translated by Octavian Gabor. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (150 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aConstantin Noica’s (1909–1987) Pray for Brother Alexander is a meditation on responsibility, freedom, and forgiveness. On the surface, the book describes events and people from Noica’s life during his time in a political communist prison in Romania. However, the volume is not a historical account only, but rather an honest introspection into how a human being may keep sanity when everything around him makes no sense.Unlike his famous Romanian contemporaries, scholar Mircea Eliade, dramatist Eugène Ionescu, and philosopher Emil Cioran, who lived abroad, Constantin Noica did not leave communist Romania. Considered an “anti-revolutionary” thinker, Noica was placed under house arrest in Câmpulung-Muscel between 1949 and 1958. In 1958, he was sentenced to 25 years in prison. He was released after 6 years, and Pray for Brother Alexander covers his experiences during this time. In his writings, Noica rekindles universal themes of philosophy, but he deals with them in a profoundly original manner, based on the culture in which he lived and for which he also suffered persecution.The volume will be of great of interest to scholars and students in history of philosophy and continental philosophy, but also to people interested in the recent history of Eastern Europe and the political persecution that took place after WWII in those countries. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemoir =653 \\$aprison literature =653 \\$aRomania =653 \\$aWorld War II =653 \\$acommunism =653 \\$aphilosophy =700 1\$aGabor, Octavian,$etranslator.$uMethodist University.$0(orcid)0000000324772542$1https://orcid.org/0000-0003-2477-2542 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0198.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0198.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02751nam 22003972 4500 =001 f755b169-bedd-4b95-b95a-294f355abc71 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20112011\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9781105245022$q(Paperback) =024 7\$a10.21983/P3.0001.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aART006010$2bisacsh =100 1\$aJeffery, Celina,$eauthor.$uUniversity of Ottawa. =245 10$aPreternatural /$cCelina Jeffery. =264 \1$aBrooklyn, NY :$bpunctum books,$c2011. =264 \4$c©2011 =300 \\$a1 online resource (38 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe preternatural, as explored by these artists, disturb the ontological boundaries of art, nature and metaphysics. They exist within the folds of classificatory thresholds: both beyond and between nature and supernature; human and animal; vegetable and mineral; living and dead. The confusion between animate and inanimate is a primary concern, a surreality which unites with the preternatural’s love for reveling in the mysterious: bizarre fragments, unreadable words, objects of absurd scale, and distortions of the relativity of time and space flourish throughout this exhibition.Preternatural is the catalogue for a multi-site art exhibition (9 December 2011 through 17 February 2012, in Ottawa, Canada) that draws from the idea that art itself is a form of preternatural pursuit, in which the artists participating explore the bewildering condition of being in between the mundane and the marvelous in nature. It questions a world that understands itself as accessible, reachable, and ‘knowable’ and counters it with a consideration of this heterogenous proposition. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ametaphysics =653 \\$anature =653 \\$asupernatural =653 \\$aexhibition catalog =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0001.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0001.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02243nam 22003132 4500 =001 5b652d05-2b5f-465a-8c66-f4dc01dafd03 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692529843$q(Paperback) =024 7\$a10.21983/P3.0111.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =100 1\$aArrighi, Rachel,$eauthor. =245 10$a[provisional self-evidence] /$cRachel Arrighi. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (162 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAs Jesus of Nazareth once said (or was, more precisely, read [transcribed (by sets of translators [NIV])]), “Why do you look at the speck of sawdust in your brother’s eye and pay no attention to the plank in your own eye?”[provisional self-evidence] pays all attention to the plank in academia’s/its own eye.Example: members of marginalized groups experience a sense of anxiety, such sense — academia advancing — being by no means merely ‘natural’ as an end of society (institutionalized racism/classism/sexism/etc.). Extension: to academia — members of which experiencing such sense relative to research, reading, writing; processes —, such sense is natural (imagine the teacher to the student: ‘it is only natural’).[provisional self-evidence] turns academia against itself, re-claiming naturality.// Nature’s handwriting is asemic =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0111.1.00$zConnect to e-book =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04043nam 22004932 4500 =001 bd78286d-43e0-4561-8279-94b629ddb4fd =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018963381 =020 \\$z9781947447936$q(Paperback) =020 \\$a9781947447943$q(PDF) =024 7\$a10.21983/P3.0235.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aLIT004160$2bisacsh =072 7$aLIT004190$2bisacsh =072 7$aJBSJ$2thema =072 7$aNHTQ$2thema =072 7$aQRRT1$2thema =100 1\$aXiang, Zairong,$eauthor.$uUniversity of Potsdam. =245 10$aQueer Ancient Ways :$bA Decolonial Exploration /$cZairong Xiang. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (266 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aQueer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves. An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang’s work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.At the heart of Xiang’s argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$adecolonialism =653 \\$aNahua mythology =653 \\$aBabylonian mythology =653 \\$aqueer studies =653 \\$acreation myths =653 \\$aintersectionality =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0235.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0235.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03761nam 22005052 4500 =001 f940465f-2a20-40b4-bc1c-cd4670893ce4 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20222022\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2022932939 =020 \\$z9781685710248$q(Paperback) =020 \\$a9781685710255$q(PDF) =024 7\$a10.53288/0328.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aWFT$2bicssc =072 7$aJFSK$2bicssc =072 7$aSOC064000$2bisacsh =072 7$aDES001000$2bisacsh =072 7$aWFT$2thema =072 7$aJBSJ$2thema =100 1\$aEdwards, Jason,$eauthor.$uUniversity of York.$0(orcid)0000000250324965$1https://orcid.org/0000-0002-5032-4965 =245 10$aQueer and Bookish :$bEve Kosofsky Sedgwick as Book Artist /$cJason Edwards. =264 \1$aEarth, Milky Way :$bpunctum books,$c2022. =264 \4$c©2022 =300 \\$a1 online resource (438 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aQueer and Bookish: Eve Kosofksy Sedgwick as Book Artist represents the first book-length study to explore the intersections of Sedgwick’s critical writing, poetry, and, most importantly, book art, making the case that her art criticism, especially her meditations on domestic and nineteenth-century photography, and “artist’s book” projects are as formally complex and brilliant, conceptually significant and life-changing, as her literary criticism and theory. In addition, the book represents a significant intervention into recent debates about reparative reading, surface reading, and the descriptive turn across the humanities, because of its sustained, positive accounts on Sedgwick’s books as visual, textural, and material objects.The book ranges across Sedgwick’s published output, from The Coherence of Gothic Conventions (1980) to the posthumously published The Weather in Proust (2011), and features her meditations on a wide variety of art-historical topoi, including Judith Scott’s queer/crip fiber art; the anality of Polykleitos’s Doryphorus; queer Modernist typography; Piranesi’s punitive space; Duncan Grant and Vanessa Bell’s queer holy family; Manet’s frontality and thalassic aesthetics; fat and thin aesthetics of various stripes; and the queer photography of Anna Atkins, Clementina Hawarden, and Julia Margaret Cameron; Baron De Mayer, Eugene Atget, and P.H. Emerson; as well as David Hockney, Ken Brown, and her own father, a NASA lunar photographer. The book climaxes with two chapter-length explorations of Sedgwick’s own late-life book-art practice: her panda Valentine alphabet cards (c. 1996) and her Last Days of Pompeii/Cavafy unique artist’s book (c. 2007). =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aqueer studies =653 \\$abook art =653 \\$aAIDS =653 \\$apandas =653 \\$aphotography =653 \\$aliterary studies =653 \\$aEve Kosofsky Sedgwick =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0328.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0328.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03752nam 22005412 4500 =001 2af98e3e-7caa-4bb8-8097-df3b0ded803f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023930783 =020 \\$z9781685710842$q(Paperback) =020 \\$a9781685710859$q(PDF) =024 7\$a10.53288/0415.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aVFVG$2bicssc =072 7$aVFXC$2bicssc =072 7$aJFSS$2bicssc =072 7$aFAM056000$2bisacsh =072 7$aFAM006000$2bisacsh =072 7$aVFVG$2thema =072 7$aVFXC$2thema =072 7$aJBSW$2thema =100 0\$aRobinou,$eauthor.$0(orcid)0000000281737471$1https://orcid.org/0000-0002-8173-7471 =245 10$aQueer Communal Kinship Now! /$cRobinou. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (178 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aQueer communal kinship is a long overdue replacement for the naturalized model of the modern western family; a post-capitalist regime of social reproduction, aiming for redistributive justice through the politics of pleasure; a timely proposal for the demise of possessive and accumulative ideology, and the upsurge of a counter-imaginary; a manifesto for the collectivization of reproductive labor; an ethical conceptual framework for a joyful cultural shift: Queer Communal Kinship Now!This manifesto pushes for a radical redefinition of love, intimacy, and care in support of a much needed redistributive justice movement. This project must be accompanied by an exit from heteronormativity as a regime of relational scarcity, as well as from the metaphysics of private property which is at the heart of our economies and by extension of our social ecologies -- at odds with much of life on this planet. Queer Communal Kinship Now! examines the role of western normative family ideals in the mechanisms of the preservation and intensification of this status quo, as well as potential approaches to guide us out of this unsavory situation. Both handbook and personal narrative, Queer Communal Kinship Now! discusses the conceptual leaps required to emancipate ourselves from the conventional western family model, towards different regimes of bonding, care, and attention, to allow us to imagine a different type of social reality driven by queer and feminist ethical concerns. Directed to those interested in building queer families and wondering how not to repeat the mistakes of their parents, Queer Communal Kinship Now! offers radical ways of rethinking being together. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$akinship =653 \\$acommunalism =653 \\$aqueer families =653 \\$aconsensual non-monogamy =653 \\$aheteronormativity =653 \\$autopia =653 \\$afeminism =653 \\$aqueer studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0415.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0415.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03061nam 22004092 4500 =001 cd836291-fb7f-4508-bdff-cd59dca2b447 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692344736$q(Paperback) =024 7\$a10.21983/P3.0082.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aSOC064000$2bisacsh =100 1\$aO'Rourke, Michael,$eauthor. =245 10$aQueer Insists (for José Esteban Muñoz) /$cMichael O'Rourke. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (76 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aQueer Insists is a memorial essay, a work of mourning, written for the queer theorist and performance scholar José Esteban Muñoz (1967-2013) shortly after his untimely death in December 2013. In a series of fragments, not unlike Roland Barthes’s Mourning Diary, Michael O’Rourke shares memories of Muñoz, the stories and reflections of his friends in the wake of his passing, and readings of his work from Disidentifications to Cruising Utopia and beyond. O’Rourke argues that, for Muñoz, queer does not exist, per se, but rather insists, soliciting us from the future to-come. Muñoz reached towards teleopoietic worlds as he invented a queer theory we have yet to find, but are invited to glimpse.Among the Muñozian themes this chapbook discusses are hope, utopia, affect, punk rock, heresy, the undercommons, temporality, hauntology, forgetting, loss, ephemera, partage, sense, incommensurability, the event and democracy.In reading Muñoz as a Rogue Theorist, this book borrows many of the gifts we have received (and have yet to receive) from him, marking the force and luminescence of his thought, and insisting upon the rare and precious singularity of his work. Muñoz bequeaths to us a queer studies without condition which it is our duty to foster and to bear as we carry it and him into the unknowable futures of an indiscipline =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJosé Esteban Muñoz =653 \\$aqueer studies =653 \\$arogue theory =653 \\$autopia =653 \\$amemorial =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0082.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0082.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03944nam 22004092 4500 =001 46ab709c-3272-4a03-991e-d1b1394b8e2c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692283950$q(Paperback) =024 7\$a10.21983/P3.0107.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPN$2bicssc =072 7$aART060000$2bisacsh =245 00$aRavish the Republic :$bThe Archives of the Iron Garters Crime/Art Collective /$cedited by Michael L. Berger. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aaesthetics =653 \\$aart activism =653 \\$adisruptive collectives =653 \\$amail art =653 \\$amanifesto =700 1\$aBerger, Michael L.,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0107.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0107.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03214nam 22004212 4500 =001 4da1ef38-e3d8-4384-8c73-82d6e36df49d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9781468096361$q(Paperback) =024 7\$a10.21983/P3.0003.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHRJX$2bicssc =072 7$aREL040060$2bisacsh =100 1\$aHorwitz, Noah,$eauthor.$uSouthern New Hampshire University. =245 10$aReality in the Name of God, or, Divine Insistence :$bAn Essay on Creation, Infinity, and the Ontological Implications of Kabbalah /$cNoah Horwitz. =264 \1$aBrooklyn, NY :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (356 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat should philosophical theology look like after the critique of Onto-theology, after Phenomenology, and in the age of Speculative Realism? What does Kabbalah have to say to Philosophy? Since Kant and especially since Husserl, philosophy has only permitted itself to speak about how one relates to God in terms of the intentionality of consciousness and not of how God is in himself. This meant that one could only ever speak to God as an addressed and yearned-for holy Thou, but not to God as infinite creator of all.In this book-length essay, the author argues that reality itself is made up of the Holy Name of God. Drawing upon the set-theoretical ontology of Alain Badiou, the computational theory of Stephen Wolfram, the physics of Frank Tipler, the psychoanalytical theory of Jacques Lacan, and the genius of Georg Cantor, the author works to demonstrate that the universe is a computer processing the divine Name and that all existence is made of information (the bit). As a result of this ontic pan-computationalism, it is shown that the future resurrection of the dead can take place and how it may in fact occur. Along the way, the book also offers compelling critiques of several significant theories of reality, including the phenomenological theologies of Emmanuel Levinas and Jean-Luc Marion, Process Theology, and Object-Oriented Ontology. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$akabbalah =653 \\$aspeculative realism =653 \\$atheology =653 \\$aset theory =653 \\$aontology =653 \\$aJewish mysticism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0003.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0003.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04726nam 22005292 4500 =001 7e078f07-4424-4a5b-bbe9-fb597498f64f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023940799 =020 \\$z9781685711085$q(Paperback) =020 \\$a9781685711092$q(PDF) =024 7\$a10.53288/0353.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFXS$2bicssc =072 7$aJFCA$2bicssc =072 7$aLIT017000$2bisacsh =072 7$aSOC052000$2bisacsh =072 7$aXQK$2thema =072 7$aJBCC1$2thema =100 1\$aKirkpatrick, Ellen,$eauthor.$0(orcid)0000000310235885$1https://orcid.org/0000-0003-1023-5885 =245 10$aRecovering the Radical Promise of Superheroes :$bUn/Making Worlds /$cEllen Kirkpatrick. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (414 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aSuperhero meaning making is a site of struggle. Superheroes (are thought to) trouble borders and normative ways of seeing and being in the world. Superhero narratives (are thought to) represent, and thereby inspire, alternative visions of the real world. The superhero genre is (thought to be) a repository for radical or progressive ideas. In the superhero world and beyond, much is made of the genre’s utopian and dystopian landscapes, queer identity-play, and transforming bodies, but might it not be the case that the genre’s overblown normative framing, or representation, serves to muzzle, rather than express, its protagonists’ radical promise? Why, when set against otherwise unbounded, and often extreme, transformation—human to machine, human to animal, human to god—are certain categories seemingly untouchable? Why does this speculative genre routinely fail to fully speculate about other worlds and ways of being in those worlds? For all their nonconformity, superhero stories do not live up to the idea of a radical genre, in look, feel, or tone. The mainstream American superhero genre, and its surrounding discourses, tells and facilitates an astonishingly seamless tale of opposing ideologies. But how?Recovering the Radical Promise of Superheroes: Un/Making Worlds serves a speculative response, detailing not so much a hunt for genre meaning as a trip through a genre’s meaningscape. Looking anew at superhero meaning-making practices allows a distinct way of thinking about and describing the creative, formal, and ideological conditions of the genre and its protagonists, one removed from corralling binaries, one foregrounding the idea of a synergy—often unseen, uneasy, and even hostile—between official and unofficial agents of superhero meaning and one reframing familiar questions: What kinds of meaning do superhero texts engender? How is this meaning made? By whom and under what conditions? What processes and practices inform, regulate, and extend superhero meaning? And finally, superhero narratives present a new question: How might we reimagine its agents, surfaces, and spaces? Centering the experiences and practices of excluded and marginalized superhero fans, Recovering the Radical Promise of Superheroes reveals that genre meaning is not lodged in one place or another, neither in its official creators or fans, nor in “black and white” conservatism or in a “rainbow” of progressive possibilities. Nor is it even located somewhere in the in-between; it is instead better conceived of as an antagonistic, in-process nexus of meaning undergirded by systems of power. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afan theory =653 \\$acounterstorytelling =653 \\$asuperheroes =653 \\$aqueer theory =653 \\$ameaning making =653 \\$aworldmaking =653 \\$amedia fandom =653 \\$aDC Comics =653 \\$aMarvel =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0353.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0353.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04156nam 22006612 4500 =001 a973a771-e305-4582-9f2e-f81c4d925172 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024943921 =020 \\$z9781685711900$q(Paperback) =020 \\$a9781685711917$q(PDF) =024 7\$a10.53288/0466.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aPOL039000$2bisacsh =072 7$aPOL004000$2bisacsh =072 7$aSOC002010$2bisacsh =072 7$aJBFV3$2thema =072 7$aJPV$2thema =072 7$aJHMC$2thema =072 7$a1FPCT$2thema =072 7$a1FPCT$2thema =072 7$a1FPC$2thema =072 7$a1FPC-CN-PJ$2thema =072 7$a1QBKK$2thema =072 7$aJWD$2thema =072 7$a1FKA$2thema =072 7$aJBFL$2thema =072 7$a1DXR$2thema =072 7$a1FBN$2thema =245 00$aRedacted :$bWriting in the Negative Space of the State /$cedited by Lisa Min, Franck Billé, Charlene Makley. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (290 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhen it comes to the political, acts of redaction, erasure, and blacking out sit in awkward tension with the myth of transparent governance, borderless access, and frictionless communication. But should there be more than this brute juxtaposition of truth and secrecy?Redacted: Writing in the Negative Space of the State brings together essays, poems, artwork, and memes – a bricolage of media that conveys the experience of living in state-inflected worlds in flux. Critically and poetically engaging with redaction in politically charged contexts (from the United States and Denmark to Russia, China, and North Korea), the volume closely examines and turns loose this disquieting mark of state power, aiming to trouble the liberal imaginaries that configure the political as a left–right spectrum, as populism and nationalism versus global and transnational cosmopolitanism, as east versus west, authoritarianism versus democracy, good versus evil, or the state versus the people – age-old coordinates that no longer make sense. Because we know from the upheavals of the past decade that these relations are being reconfigured in novel, recursive, and unrecognizable ways, the consequences of which are perplexing and ever evolving.This book takes up redaction as a vital form in this new political reality. Contributors both critically engage with statist redaction practices and also explore its alluring and ambivalent forms, as experimental practices that open up new dialogic possibilities in navigating and conveying the stakes of political encounters. =536 \\$aUniversity of California, Berkeley$eInstitute of East Asian Studies =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aanthropology =653 \\$asurveillance =653 \\$agovernmentality =653 \\$acensorship =653 \\$adecoloniality =653 \\$aterrorism =653 \\$abureaucracy =700 1\$aMin, Lisa,$eeditor.$uYonsei University. =700 1\$aBillé, Franck,$eeditor.$uUniversity of California, Berkeley.$0(orcid)0000000200072931$1https://orcid.org/0000-0002-0007-2931 =700 1\$aMakley, Charlene,$eeditor.$uReed College. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0466.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0466.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02688nam 22005052 4500 =001 87e58255-cc79-4fd5-adba-c579493b3d35 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023935940 =020 \\$z9781685711368$q(Paperback) =020 \\$a9781685711375$q(PDF) =024 7\$a10.53288/0503.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aSCI027000$2bisacsh =072 7$aDCF$2thema =100 1\$aRosenfield, Kim,$eauthor. =245 10$are: evolution /$cKim Rosenfield. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (112 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDelving into the fissures of language as an opportunity to create something new, Rosenfield appropriates texts from various fields of knowledge (evolutionary theory, psychoanalysis, advice on the science of living, and feminist theory) to rewire ideas of authority, subjectivity and expert opinion. The resulting re: evolution is part text-book, part poem, part song-of-science, part feminist guide-to-living. Presented alongside research and analysis from a literary critic (Sianne Ngai), a poet/academic (Diana Hamilton), and an evolutionary biologist (Jennifer Calkins), re: evolution prompts the question: what moves around what? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aevolutionary theory =653 \\$afeminism =653 \\$apoetry =653 \\$apsychonanalysis =653 \\$abiology =700 1\$aNgai, Sianne,$eintroduction by.$uUniversity of California, Los Angeles. =700 1\$aHamilton, Diana,$econtributions by. =700 1\$aCalkins, Jennifer,$econtributions by.$uUniversity of Washington. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0503.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0503.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04425nam 22004332 4500 =001 28a0db09-a149-43fe-ba08-00dde962b4b8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018948913 =020 \\$z9781947447738$q(Paperback) =020 \\$a9781947447745$q(PDF) =024 7\$a10.21983/P3.0209.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aLong, Christopher,$eauthor.$uMichigan State University. =245 10$aReiner Schürmann and the Poetics of Politics /$cChristopher Long. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (176 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aReiner Schürmann’s thinking is, as he himself would say, “riveted to a monstrous site.” It remains focused on and situated between natality and mortality, the ultimate traits that condition human life. This book traces the contours of Schürmann’s thinking in his magnum opus Broken Hegemonies in order to uncover the possibility of a politics that resists the hegemonic tendency to posit principles that set the world and our relationships with one another into violent order.The book follows in the footsteps of Oedipus who, in abject recognition of his finitude, stumbles upon the possibility of another politics with the help of his daughters at Colonus. The path toward this other, collaboratively created and thus poetic politics begins with an encounter with Aristotle, a thinker whom Schürmann most frequently read as the founder of hegemonic metaphysics, but whose thinking reveals itself as alive to beginnings in ways that open new possibility for human community.This return to beginnings leads, in turn, to Plotinus, who Schürmann reads as marking the destitution of the ancient hegemony of the Parmenidean principle of the One. By bringing Schürmann’s innovative and compelling reading of René Char’s poem, The Shark and the Gull, into dialogue with Plotinus we come to encounter the power of symbols to transform reality and open us to new constellations of possible community. In Plotinus, where we expected to encounter an end, we experience a new way of thinking natality in terms of what comes to language in Char as the nuptial. Having thus been awakened to the power of symbols, we are prepared to experience how in Kant being itself comes to expression as plurivocal in a way that reveals just how pathologically delusional it is to attempt to deploy univocal principles in a plurivocal world. This opens us to what Schürmann calls the “singularization to come,” a formulation that gestures to a mode of comportment at home in the ravaged site between natality and mortality. This then returns us to Oedipus at Colonus; but not to him alone. Rather, it points to the relationship that emerges for a time between Antigone, Ismene, and Oedipus, as they navigate a way between their exile from Thebes and Oedipus’s final resting place near Athens. Here, having been awakened to the power of a poetic politics, we attend to three symbolic moments of touching between Oedipus and his daughters through which we might discern something of the new possibilities a poetic politics opens for us if we settle into the ravaged site that conditions our existence, together. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetics =653 \\$apolitical philosophy =653 \\$aOedipus =653 \\$aReiner Schürmann =653 \\$aPlotinus =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0209.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0209.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02642nam 22004092 4500 =001 ac612279-727a-4920-a9bf-95879369e7a8 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692611340$q(Paperback) =020 \\$a9781950192854$q(PDF) =024 7\$a10.21983/P3.0128.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$aita =072 7$aDCF$2bicssc =072 7$aPOE019000$2bisacsh =100 1\$aDe Francesco, Alessandro,$eauthor.$uUniversity of Antwerp.$0(orcid)0000000316223682$1https://orcid.org/0000-0003-1622-3682 =245 10$aRemote Vision (poetry 1999–2015) /$cAlessandro De Francesco; translated by Belle Cushing, Dusty Neu. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (342 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aRemote Vision represents, in English and Italian, the most significant works in poetry and conceptual writing produced by Alessandro De Francesco to date. It is both a coherent book and the most exhaustive collection of his poetry ever published in any language. All sections have been rearranged for this publication, with each one containing the complete English text followed by the complete Italian version. The texts have been beautifully translated by poets and Brown University alumni Belle Cushing and Dusty Neu, under the coordination of the acclaimed poet and Comparative Literature scholar Forrest Gander. Remote Vision condenses and presents under a new light the conceptual and emotional intensity of Alessandro De Francesco’s poetry. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aItalian poetry =700 1\$aCushing, Belle,$etranslator. =700 1\$aNeu, Dusty,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0128.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0128.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03377nam 22004212 4500 =001 d97b2e6e-8fab-40ee-a38d-5dc804b150ed =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615851334$q(Paperback) =024 7\$a10.21983/P3.0039.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aWTL$2bicssc =072 7$aLIT004130$2bisacsh =100 1\$aAbbott, Scott,$eauthor.$uUtah Valley University. =245 10$aRepetitions /$cScott Abbott, Žarko Radaković. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (124 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 1994, after following a character in Peter Handke’s novel Repetition into what is now Slovenia and after traveling in landscapes of Handke’s youth, Žarko Radaković and Scott Abbott published a two-headed text in Belgrade, Ponavljane, now published in English by punctum as Repetitions. The possibility of narration in two voices, complicated by the third voice that is Peter Handke’s own narrator, is the main focus of deliberation while traveling and reading and writing. Repetitions begins with Abbott’s text, a fairly straightforward travel narrative. It ends with Radaković’s account of the same events, much less straightforward, more repetitious, more adventuresome.Two aspects make the double-book unique. First, it represents experiences shared by two authors whose native languages are Serbian and English respectively (German is their only common language). The authors’ perspectives contrast with and supplement one another: Radaković grew up in Tito’s Yugoslavia and Abbott comes from the Mormon American West; Radaković is the translator of most of Peter Handke’s works into Serbo-Croatian and Abbott translated Handke’s provocative A Journey to the Rivers: Justice for Serbia for Viking Press and his play Voyage by Dugout: The Play of the Film of the War for PAJ (Performing Arts Journal); Radaković was a journalist for Deutsche Welle in Cologne and Abbott is a professor of German literature at Utah Valley University; Radaković is the author of several novels and Abbott has published mostly literary-critical work; and so on. Two sets of eyes. Two pens. Two visions of the world. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aYugoslavia =653 \\$aPeter Handke =653 \\$atranslation =653 \\$aSlovenia =653 \\$atravel =700 1\$aRadaković, Žarko,$eauthor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0039.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0039.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03922nam 22004092 4500 =001 196206d8-879e-4737-a0d7-26b576224def =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237503$q(Paperback) =024 7\$a10.21983/P3.0153.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJPHV$2bicssc =072 7$aPOL007000$2bisacsh =100 1\$aSmith, Paul E.,$eauthor.$uUniversity of Tasmania. =245 10$aRescuing Democracy /$cPaul E. Smith. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (518 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book proposes a new institution — the ‘People’s Forum’ — to enable democratic governments to effectively address long-running issues like global warming and inequality. It would help citizens decide what strategic problems their government must fix, especially where this requires them to suffer some inconvenience or cost.The People’s Forum is first based on a new diagnosis of government failure in democracies. The book tests its own analyses of government failure by seeing whether these might help us to explain the failures of particular democracies to address (and in some cases, to even recognize) several crucial environmental problems. The essential features of a new design for democracy are described and then compared with those of previous institutional designs that were also intended to improve the quality of democratic government. In that comparison, the People’s Forum turns out to be not only the most effective design for developing and implementing competent policy, but also the easiest to establish and run. The latter advantage is crucial as there has been no success in getting previous designs into actual trial practice. It is hoped that this book may inspire a small group to raise the money to set up and run the People’s Forum. Then, as citizens see it operating and engage with it, they may come to regard the new Forum as essential in helping them to deliberate long-running issues and to get their resulting initiatives implemented by government. Smith also discusses how the People’s Forum must be managed and how groups with different political ideologies may react to it.An Afterword sets out the method by which this design was produced, to help those who might want to devise an institution themselves. The new concepts in environmental science that the book develops to test its diagnosis are applied in an Appendix to outline crucial options for the future of Tasmania. Similar options apply to many countries, states and provinces. As indicated above, those choices are currently beyond the capacity of democratic governments to address and in some cases, even to recognize. But the People’s Forum may lift them out of that morass. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$ademocracy =653 \\$apoitical theory =653 \\$agovernment =653 \\$aecological crisis =653 \\$apeople's forum =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0153.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0153.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05440nam 22004932 4500 =001 bb4a0068-d7e5-4728-bf8f-9ef000574633 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021948303 =020 \\$z9781953035820$q(Paperback) =020 \\$a9781953035837$q(PDF) =024 7\$a10.53288/0384.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAGC$2bicssc =072 7$aART037000$2bisacsh =072 7$aART006010$2bisacsh =245 00$aResistance /$cedited by Marko Stamenkoviç. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (216 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aesistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic.Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe. =536 \\$aSwiss Agency for Development and Cooperation$fSwiss Cultural Fund Albania =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAlbania =653 \\$apolitical activism =653 \\$apolitical art =653 \\$aresistance =653 \\$aart residency =653 \\$aprotest =653 \\$aWestern Balkans =700 1\$aStamenkoviç, Marko,$eeditor.$0(orcid)0000000325234527$1https://orcid.org/0000-0003-2523-4527 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0384.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0384.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03711nam 22005172 4500 =001 0aeaad1b-4c63-4ebc-9fde-2f75939d65e9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023941964 =020 \\$z9781685710880$q(Paperback) =020 \\$a9781685710897$q(PDF) =024 7\$a10.53288/0445.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBB$2bicssc =072 7$a2AHA$2bicssc =072 7$aLIT004190$2bisacsh =072 7$aLIT004160$2bisacsh =072 7$aLIT016000$2bisacsh =072 7$aDSBB$2thema =072 7$a2AHA$2thema =100 1\$aTelò, Mario,$eauthor.$uUniversity of California, Berkeley.$0(orcid)0000000198221984$1https://orcid.org/0000-0001-9822-1984 =245 10$aResistant Form :$bAristophanes and the Comedy of Crisis /$cMario Telò. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (418 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCan attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression?The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism.These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAristophanes =653 \\$aGreek comedy =653 \\$aformalism =653 \\$aqueer studies =653 \\$aclassical literature =653 \\$abiopolitics =653 \\$aclose reading =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0445.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0445.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02581nam 22004332 4500 =001 e770d0ad-6124-4ff3-b21b-784dd172668d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017956682 =020 \\$z9781947447240$q(Paperback) =020 \\$a9781947447257$q(PDF) =024 7\$a10.21983/P3.0187.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aCFGR$2bicssc =072 7$aLIT006000$2bisacsh =100 1\$aBelikian, Les,$eauthor.$uLos Angeles City College. =245 10$aRhetorical Agency :$bMind, Meshwork, Materiality, Mobility /$cLes Belikian. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (206 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn recent accounts of rhetoric’s storied productivity, commentators have implied, along systematically Kantian lines, albeit with the occasional protestation, that agency must be coextensive with subjectivity. But is that all there is (to 2,500 years’ worth of hypothesizing about the ways in which communication might promote social change)? Les Belikian’s answer, drawing not only on traditional and contemporary rhetorical studies but also on Deleuzean thinking, actor-network theory, and object-oriented ontology, takes the form of a quadruply contrarian thesis: Rhetorical agency inheres, irreducibly so, in subjectivity, in conventionality, in transcendence, and in materiality, all of which are themselves always under production. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$arhetoric =653 \\$aactor-network theory =653 \\$ameshworks =653 \\$aobject-oriented ontology =653 \\$atransversality =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0187.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0187.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03430nam 22005772 4500 =001 b8580994-0b8b-42ba-b5a8-3e7e331aa948 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023942106 =020 \\$z9781685711122$q(Paperback) =020 \\$a9781685711139$q(PDF) =024 7\$a10.53288/0451.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFG$2bicssc =072 7$aRNPG$2bicssc =072 7$aJFSL4$2bicssc =072 7$aPOE015000$2bisacsh =072 7$aFIC079000$2bisacsh =072 7$aJBFM$2thema =072 7$aRNPG$2thema =072 7$a5PB-US-H$2thema =100 1\$aOrtiz, Naomi,$eauthor.$0(orcid)0000000194634271$1https://orcid.org/0000-0001-9463-4271 =245 10$aRituals for Climate Change :$bA Crip Struggle for Ecojustice /$cNaomi Ortiz. =264 \1$aEarth: Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (208 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDisability justice and ecojustice are rarely considered together but are in constant conversation in our world. Rituals for Climate Change: A Crip Struggle for Ecojustice, combining poetry and the lyrical essay, doesn’t contain just one point of view but encompasses dialectical perspectives which often exist in contradiction to each other. A disabled person is in need of plastic cups and concerned about the overwhelming plastic in our ecosystems. Ortiz expands on and complicates who is seen as an environmentalist and what being in relationship with the land can look like.This book is an offering to explore the spiritual question of how to witness. It serves as a companion to those also grappling with the difficult and often unanswerable questions posed by climate change in the borderlands. By exploring the ways body, mind, and cultures both clash with and long for ecojustice, Rituals for Climate Change offers an often-overlooked perspective on climate-grief, interdependence, and resilience. Disabled people know how to adapt to a world that is ever changing without considering them. =536 \\$aNational Association of Latino Arts and Cultures$eReclaiming the US/Mexico Border Narrative Grant Program =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aclimate grief =653 \\$aborderlands =653 \\$adisability justice =653 \\$aclimate change =653 \\$ainterdependence =653 \\$aLatinx studies =653 \\$aSonoran desert =653 \\$aChicano studies =653 \\$aIndigenous studies =653 \\$adisability studies =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0451.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0451.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03211nam 22004932 4500 =001 960cb748-a130-4e31-9abf-486c686e12ad =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020936034 =020 \\$z9781950192793$q(Paperback) =020 \\$a9781950192809$q(PDF) =024 7\$a10.21983/P3.0287.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aJFFJ$2bicssc =072 7$aBIO026000$2bisacsh =072 7$aDNC$2thema =072 7$aJBFA$2thema =100 1\$aSmith, Dolsy,$eauthor.$uGeorge Washington University. =245 10$aRough Notes to Erasure :$bWhite Male Privilege, My Senses, and the Story I Cannot Tell /$cDolsy Smith. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (330 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWe are living through the wrack of the White Male. As the compact between social hierarchy, inherited privilege, and race (reinforced by gender and other normative categories) shows signs of buckling, his rage and resentment threaten us all. For he is a thing possessed: possessed by his own love of possession, and born to a sense that the world belongs to him and him alone. The spoils of oppression lie coiled inside him, a glut he can’t digest, and murder beckons behind the respect that he conceives of as his due." A hybrid of critical essay and memoir, and Rough Notes to Erasure contributes to a growing body of work that wrestles with the tacit and embodied nature of privilege and prejudice, and it contributes not only via argument but also through style. Taking inspiration from feminist/queer poetics and what Fred Moten calls “the black avant-garde,” these rough notes address the remainder that gets lost in explicit argument, which is the flesh. Where privilege roils through history, and empire whets the appetites. But also where the world catches on its own fractalization by thought, feeling, and desire; and language recovers, for a moment or two, the power to entangle us with our mother tongue. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$awhite privilege =653 \\$acomposition =653 \\$aracism =653 \\$amemoir =653 \\$adecoloniality =653 \\$amasculinity =653 \\$acollege education =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0287.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0287.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02899nam 22004452 4500 =001 0d485404-68e5-4f24-83e8-e993093f5f1d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692655832$q(Paperback) =024 7\$a10.21983/P3.0134.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFC$2bicssc =072 7$aLCO015000$2bisacsh =072 7$aLCO010000$2bisacsh =072 7$aDNL$2thema =072 7$aDNP$2thema =245 00$aRumba under Fire :$bThe Arts of Survival from West Point to Delhi /$cedited by Irina Dumitrescu. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (264 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be “in crisis.” In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acultural studies =653 \\$ahumanities =653 \\$aart in crisis =653 \\$acrisis =653 \\$awar =700 1\$aDumitrescu, Irina,$eeditor.$uUniversity of Bonn. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0134.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0134.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04117nam 22005772 4500 =001 8a03e8d9-6cae-4794-b109-3d33c7988ef6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020935343 =020 \\$z9781950192779$q(Paperback) =020 \\$a9781950192786$q(PDF) =024 7\$a10.21983/P3.0283.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHRCR$2bicssc =072 7$aHRCX8$2bicssc =072 7$aAMN$2bicssc =072 7$aREL110000$2bisacsh =072 7$aARC016000$2bisacsh =072 7$aQRVS5$2thema =072 7$aQRVP1$2thema =072 7$aAMN$2thema =100 1\$aHo, Cynthia O.,$eauthor.$uUniversity of North Carolina at Asheville. =245 10$aSacred Views of Saint Francis :$bThe Sacro Monte di Orta /$cCynthia O. Ho, Kathleen W. Peters, John McClain. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (208 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOverlooking Lago di Orta in the foothills of the Northern Italian Alps, the Renaissance-era Sacro Monte di Orta (a UNESCO World Heritage site) is spectacle and hagiography, theme park and treatise. Sacro Monte di Orta is a sacred mountain complex that extolls the life of St. Francis of Assisi through fresco, statuary, and built environment. Descending from the vision of the 16th-century Archbishop Carlo Borromeo, the design and execution of the chapels express the Catholic Church’s desire to define, or, perhaps redefine itself for a transforming Christian diaspora. And in the struggle to provide a spiritual and geographical front against the spread of Protestantism into the Italian peninsula, the Catholic Church mustered the most powerful weapon it had: the widely popular native Italian saint, Francis of Assisi.Sacred Views of Saint Francis: The Sacro Monte di Orta examines this important pilgrimage site where Francis is embraced as a ne plus ultra saint. The book delves into a pivotal moment in the life of the Catholic Church as revealed through the artistic program of the Sacro Monte’s twenty-one chapels, providing a nuanced understanding of the role the site played in the Counter-Reformation.The Sacro Monte di Orta was, in its way, a new hagiographical text vital to post-Tridentine Italy. Sacred Views provides research and analysis of this popular, yet critically neglected Franciscan devotional site. Sacred Views is the first significant scholarly work on the Sacro Monte di Orta in English and one of the very few full-length treatments in any language. It includes a catalogue of artists, over one hundred photographs, maps, short essays on each chapel, and longer essays that examine some of the most significant chapels in greater detail. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aCatholicism =653 \\$aSaint Francis =653 \\$apilgrimage =653 \\$asacred architecture =653 \\$areligious sculpture =653 \\$ahagiography =653 \\$aChristianity =653 \\$amonasticism =700 1\$aPeters, Kathleen W.,$eauthor.$uRhodes College. =700 1\$aMcClain, John,$eauthor.$uUniversity of North Carolina at Asheville. =700 1\$aPeters, J. Ross,$ephotographer. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0283.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0283.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03623nam 22004692 4500 =001 5dda1ad6-70ac-4a31-baf2-b77f8f5a8190 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018967623 =020 \\$z9781947447974$q(Paperback) =020 \\$a9781947447981$q(PDF) =024 7\$a10.21983/P3.0238.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBB$2bicssc =072 7$aLIT004190$2bisacsh =100 1\$aGoldberg, Jonathan,$eauthor.$uEmory University. =245 10$aSappho :$b]fragments /$cJonathan Goldberg. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (168 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn Sappho, Jonathan Goldberg takes as his model the fragmentary state in which this sublime poet’s writing survives, a set of compositional and theoretical resources for living and thinking in more fully erotic ways in the present and the future. This book thus offers fragmentary commentary on disparate (Sapphic) works, such as the comics of Alison Bechdel, the paintings and cartoons of Leonardo da Vinci, Robert Reid-Pharr’s “Living as a Lesbian,” Madeleine de Scudéry’s Histoire de Sapho, John Donne’s “Sapho to Philaenis,” Todd Haynes and Patricia Highsmith’s Carol, Virginia Woolf’s Orlando, writings by Willa Cather, and the paintings and writings of Simeon Solomon, among other works. Goldberg challenges readers to imagine and experience what Sarah Orne Jewett named the “country of our friendship,” a love both exceedingly strange and compellingly familiar.Just as Sappho’s coinage “bitter-sweet” describes eros as inextricably contradictory — two things at once, one thing after another, each interrupting, complicating, each other — the juxtapositions in this book mean to continually call into question categories of identity and identification in the wake of a quintessential woman writer from Lesbos. Over and over again, Goldberg’s Sappho: ]fragments inquires into how race, sexuality, and gender cross each other. The theoretical genius of Eve Kosofsky Sedgwick presides over this set of meditations and mediations on likeness and desire. Rather than homogenizing its many subjects, it invites the reader to explore and inhabit new transits within and through what Audre Lorde called “the very house of difference.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aSappho =653 \\$alesbian poetry =653 \\$aclassical literature =653 \\$aancient Greece =653 \\$aqueer studies =653 \\$agay poetry =653 \\$asexuality =700 1\$aFradenburg Joy, L.O. Aranye,$eafterword by.$uUniversity of California, Santa Barbara. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0238.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0238.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02930nam 22004452 4500 =001 177e3717-4c07-4f31-9318-616ad3b71e89 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017952203 =020 \\$z9781947447141$q(Paperback) =020 \\$a9781947447158$q(PDF) =024 7\$a10.21983/P3.0182.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRBKC$2bicssc =072 7$aNAT025000$2bisacsh =245 00$aSea Monsters :$bThings from the Sea, Volume 2 /$cedited by Thea Tomaini, Asa Simon Mittman. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (66 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aBeaches are places that give and take, bringing unexpected surprises to society, and pulling essentials away from it. Through monsters, we confront our tiny time between catastrophes and develop a recognition of Otherness by which an ethical understanding of difference becomes possible. Learning to read the monster’s environmental signs often helps humans determine the scope of the monster’s place in the eco/cosmic timeline and defeat it—until the epic cycle inevitably repeats; monsters live and live and live. Even so; when humans identify and confront monsters we do so at the risk of exposing our own monstrosity. When a massive creature is pushed into human proximity by the ocean’s wide shoulders, the waves deposit and erode human assumptions about itself and its environment; words, sounds, breath, water, wind, flesh, blood, and bones wash in and out. Chance encounters reveal us to ourselves anew. When we look into the inky backs of whales, or deep into vortices, what do we see? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amonster theory =653 \\$aocean studies =653 \\$awhales =653 \\$amedieval studies =653 \\$awhirlpools =700 1\$aTomaini, Thea,$eeditor.$uUniversity of Southern California. =700 1\$aMittman, Asa Simon,$eeditor.$uCalifornia State University, Chico. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0182.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0182.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03387nam 22004572 4500 =001 b50aca26-6527-4db3-8ab9-57ba2f3cb14f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018959823 =020 \\$z9781947447875$q(Paperback) =020 \\$a9781947447882$q(PDF) =024 7\$a10.21983/P3.0211.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRNT$2bicssc =072 7$aPHI049000$2bisacsh =072 7$aPHI013000$2bisacsh =100 1\$aIvakhiv, Adrian,$eauthor.$uUniversity of Vermont. =245 10$aShadowing the Anthropocene :$bEco-Realism for Turbulent Times /$cAdrian Ivakhiv. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (294 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aA spectre is haunting humanity: the spectre of a reality that will outwit and, in the end, bury us. “The Anthropocene,” or The Human Era, is an attempt to name our geological fate – that we will one day disappear into the layer-cake of Earth’s geology – while highlighting humanity in the starring role of today’s Earthly drama. In Shadowing the Anthropocene, Adrian Ivakhiv proposes an ecological realism that takes as its starting point humanity’s eventual demise. The only question for a realist today, he suggests, is what to do now and what quality of compost to leave behind with our burial.The book engages with the challenges of the Anthropocene and with a series of philosophical efforts to address them, including those of Slavoj Žižek and Charles Taylor, Graham Harman and Timothy Morton, Isabelle Stengers and Bruno Latour, and William Connolly and Jane Bennett. Along the way, there are volcanic eruptions and revolutions, ant cities and dog parks, data clouds and space junk, pagan gods and sacrificial altars, dark flow, souls (of things), and jazz.Ivakhiv draws from centuries old process-relational thinking that hearkens back to Daoist and Buddhist sages, but gains incisive re-invigoration in the philosophies of Charles Sanders Peirce and Alfred North Whitehead. He translates those insights into practices of “engaged Anthropocenic bodymindfulness” – aesthetic, ethical, and ecological practices for living in the shadow of the Anthropocene. =536 \\$aUniversity of Vermont =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aecology =653 \\$aanthropocene =653 \\$aenvironmental humanities =653 \\$aeco-philosophy =653 \\$arealism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0211.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0211.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04047nam 22004452 4500 =001 1950e4ba-651c-4ec9-83f6-df46b777b10f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692274835$q(Paperback) =024 7\$a10.21983/P3.0075.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 10 :$bLiterature /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (112 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.Volume 10 is devoted to the topic of Literature, with entries by Lambert and other authors. The idea that architecture can be created through narrative is popular in some academic circles. It seems a fruitful approach to the discipline as it unfolds an important imaginative field. It also envisions a resistance to forms of architectural teleology, since fiction is usually based on the disfunction of the environment in which it is set. For this reason, we could go as far as to affirm that fiction operates in contradiction to the traditional design method. The word “literature,” however, is not often pronounced by the people who seem to promote this creative method. The following texts intend to think of literature as a powerful field of ideas that translates to other creative disciplines. This translation should never be literal, and for this reason, some fictions that evoke architecture — Franz Kafka’s and Jorge Luis Borges’s labyrinths, for example — might be paradoxically more difficult to properly translate than less immediately spatial novels. The following texts do not propose any translation of their own but rather offer a humble toolbox in order to do so. This volume also constitutes an opportunity to archive the four texts written for the first event of Archipelagos (Brooklyn, November 2011), an non-institutionalized gathering of people conversing around a given topic. The first event was dedicated to literature and four architects were invited to talk about four authors they chose (Kerouac, Artaud, Dostoevsky and Pessoa) in the first half of the event, while the second half consisted of an open conversation generated by the presentations. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign =653 \\$aliterature =653 \\$aJorge Luis Borges =653 \\$anarrative =700 1\$aLambert, Léopold,$eeditor. =700 1\$aKrimizi, Sofia,$econtributions by.$uCornell University. =700 1\$aLeitão, Carla,$econtributions by.$uRensselaer Polytechnic Institute. =700 1\$aByrne, Martin,$econtributions by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0075.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0075.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03370nam 22003972 4500 =001 bdfc263a-7ace-43f3-9c80-140c6fb32ec7 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692390269$q(Paperback) =024 7\$a10.21983/P3.0095.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 11 :$bCinema /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (110 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 11 is devoted to the topic of Cinema: Spike Lee, Béla Tarr, Michelangelo Antonioni and the many other filmmakers named in this volume do not seem to have much in common at first sight; nevertheless, considered through the interpretation of a Spinozist materialist philosophy, their films might have something to say to one another. Take the mud of Red Desert (Antonioni), the volcanic slopes of The Bad Sleep Well (Kurosawa) and the soil of Pina Bausch’s Rite of Spring magnified in Pina (Wenders), for example. What these material manifestations have in common is that they are all in relation with bodies, themselves assemblages of moving matter. Similarly, consider Spike Lee’s dolly shot, Orson Welles’s labyrinth, Béla Tarr’s entropy, and Peter Watkins’s democratic improvisations: they all manifest the power of immanence and its inexorability. These films involve no deus ex machina; everything in them comes ‘from the ground’ in a continuous refusal of a celestial or other form of transcendence. Developing this kind of reading of these films allows us to avoid a traditional chronological reading of history of cinema in favor of another, one more dedicated to the philosophical vision of the world that cinema triggers =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$acinema =653 \\$adesign =653 \\$acultural studies =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0095.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0095.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02800nam 22004092 4500 =001 f5fb8a0e-ea1d-471f-b76a-a000edae5956 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615823157$q(Paperback) =024 7\$a10.21983/P3.0033.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 1 :$bSpinoza /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (102 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe blog The Funambulist: Architectural Narratives, a daily architectural platform written and edited by Léopold Lambert, finds its name in the consideration for architecture’s representative medium, the line, and its philosophical and political power when it materializes and subjectivizes bodies. If the white page represents a given milieu — a desert for example — and one comes to trace a line on it, (s)he will virtually split this same milieu into two distinct impermeable parts through its embodiment, the wall. The Funambulist, also known as a tightrope walker, is the character who, somehow, subverts this power by walking on the line.The Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$acinema =653 \\$aBaruch Spinoza =653 \\$aGilles Deleuze =653 \\$aKarl Marx =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0033.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0033.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02563nam 22004092 4500 =001 911de470-77e1-4816-b437-545122a7bf26 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615832999$q(Paperback) =024 7\$a10.21983/P3.0034.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 2 :$bFoucault /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (102 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$asurveillance =653 \\$aMichel Foucault =653 \\$abiopolitics =653 \\$autopia =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0034.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0034.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02544nam 22003972 4500 =001 61da662d-c720-4d22-957c-4d96071ee5f2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615844558$q(Paperback) =024 7\$a10.21983/P3.0038.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 3 :$bDeleuze /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$aGilles Deleuze =653 \\$aBaruch Spinoza =653 \\$aMichel Foucault =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0038.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0038.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02722nam 22004212 4500 =001 419e17ed-3bcc-430c-a67e-3121537e4702 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615868905$q(Paperback) =024 7\$a10.21983/P3.0042.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 4 :$bLegal Theory /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$alegal theory =653 \\$aurban design =653 \\$aMiddle East =653 \\$apolitical geography =700 1\$aLambert, Léopold,$eeditor. =700 1\$aFinchett-Madock, Lucy,$econtributions by.$uUniversity of Sussex.$0(orcid)0000000309510376$1https://orcid.org/0000-0003-0951-0376 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0042.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0042.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02561nam 22004092 4500 =001 fe8ddfb7-0e5b-4604-811c-78cf4db7528b =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615883533$q(Paperback) =024 7\$a10.21983/P3.0046.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 5 :$bOccupy Wall Street /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (118 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema.The Funambulist Pamphlets is published as part of the Documents Initiative imprint of the Center for Transformative Media, Parsons The New School for Design, a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign =653 \\$asocial protest =653 \\$aOccupy Wall Street =653 \\$apolitics =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0046.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0046.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02144nam 22004092 4500 =001 13390641-86f6-4351-923d-8c456f175bff =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615920184$q(Paperback) =024 7\$a10.21983/P3.0054.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 6 :$bPalestine /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (108 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). 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For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign =653 \\$aviolence =653 \\$acultural theory =653 \\$atorture =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0057.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0057.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02728nam 22004212 4500 =001 d3cbb60f-537f-4bd7-96cb-d8aba595a947 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615987835$q(Paperback) =024 7\$a10.21983/P3.0064.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 8 :$bArakawa + Madeline Gins /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (106 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. Volume 8 is dedicated to The Reversible Destiny Foundation created by Arakawa and Madeline Gins. The Foundation is much more than an architectural practice. It articulates art, philosophy, poetry, architecture and, to some extent, science in a dialogue that benefits each of these disciplines and ultimately serves one of the most radical ideas that apply to architecture: the action of non-dying. Guest authors include Shingo Tsuji, Stanley Shostak, Russell Hughes, and Jean-François Lyotard =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aMedline Gins =653 \\$aArakawa =653 \\$aarchitecture =653 \\$adesign =653 \\$amortality =700 1\$aLambert, Léopold,$eeditor. =700 1\$aHughes, Russel,$econtributions by.$uUniversity of Queensland. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0064.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0064.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02211nam 22004212 4500 =001 6fab7c76-7567-4b57-8ad7-90a5536d87af =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692226803$q(Paperback) =024 7\$a10.21983/P3.0069.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =245 04$aThe Funambulist Pamphlets 9 :$bScience Fiction /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (108 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Funambulist Pamphlets is a series of small books archiving articles published on The Funambulist, collected according to specific themes. These volumes propose a different articulation of texts than the usual chronological one. The eleven volumes are respectively dedicated to Spinoza, Foucault, Deleuze, Legal Theory, Occupy Wall Street, Palestine, Cruel Designs, Arakawa + Madeline Gins, Science Fiction, Literature, and Cinema. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign =653 \\$aJ.G. Ballars =653 \\$aPhilip K. Dick =653 \\$ascience fiction =700 1\$aLambert, Léopold,$eeditor. =700 1\$aByrne, Martin,$econtributions by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0069.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0069.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03227nam 22004092 4500 =001 84bbf59f-1dbb-445e-8f65-f26574f609b6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615897189$q(Paperback) =024 7\$a10.21983/P3.0053.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC001000$2bisacsh =245 04$aThe Funambulist Papers, Volume 1 /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (210 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book is a collection of thirty-five texts from the first series of guest writers’ essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert’s own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog’s editorial line. Overall, two ‘families’ of texts emerged, collected in two distinct parts in this volume.The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog’s editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect’s syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign =653 \\$atheory =653 \\$acultural studies =653 \\$ageopolitics =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0053.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0053.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03668nam 22003972 4500 =001 3b41b8de-b9bb-4ebd-a002-52052a9e39a9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692423240$q(Paperback) =024 7\$a10.21983/P3.0098.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAMA$2bicssc =072 7$aARC001000$2bisacsh =245 04$aThe Funambulist Papers, Volume 2 /$cedited by Léopold Lambert. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (246 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book is the second volume of texts curated specifically for The Funambulist since 2011. The editorial line of this second series of twenty-six essays is dedicated to philosophical and political questions about bodies. This choice is informed by Léopold Lambert’s own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, buildings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the solution to racism, because that body is always already an abstraction, an effect of law and its violence.” Although the readers won’t find indications about the disciplinary background of the contributors — the “witty” self-descriptions at the end of the book being preferred to academic resumés — the content of the texts will certainly attest to the broad imaginaries at work throughout this volume. Dialogues between dancers and geographers, between artists and biohackers, between architects and philosophers, and so forth, provide the richness of this volume through difference rather than similarity.The Funambulist Papers are published by the CTM Documents Initiative imprint, Center for Transformative Media, Parsons School of Design, The New School. CTM is a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign =653 \\$apolitics =653 \\$abodies =700 1\$aLambert, Léopold,$eeditor. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0098.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0098.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02640nam 22005412 4500 =001 aa6c36bf-0d86-4768-8575-f4c630efdfa1 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20242024\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2024931233 =020 \\$z9781685711962$q(Paperback) =020 \\$a9781685711979$q(PDF) =024 7\$a10.53288/0534.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =072 7$aPOE023040$2bisacsh =072 7$aDCF$2thema =072 7$a1KBB-US-WPCA$2thema =072 7$aVXQM$2thema =072 7$aDCC$2thema =072 7$aFYM$2thema =100 1\$aWhite, Ken,$eauthor.$uUniversity of Nebraska at Omaha. =245 14$aThe Getty Fiend /$cKen White. =264 \1$aEarth, Milky Way :$bpunctum books,$c2024. =264 \4$c©2024 =300 \\$a1 online resource (126 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Getty Fiend, a contemporary medieval melodrama set in Los Angeles’s Getty Museum, takes the reader on a tour filled with rock stars and warrior-kings, werewolves and archivists, sartorial Huns and libertine saints, all seen through the keenly dramatic flair of a collector’s eye. A cinematic and labyrinthine take on pulp horror, Ken White’s screenplay-in-verse is a monster mash-up of forms and languages, facades and carnal catastrophes, archaic languages and misplaced rhetorics—a campy, fantastical gender-bending transformation into the inadvertently divine. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$awerewolves =653 \\$aBisclavret =653 \\$aGetty Museum =653 \\$aLos Angeles =653 \\$amash-up =653 \\$amedieval literature =653 \\$apost-medievalism =700 1\$adu Plessis, Michael,$eintroduction by. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0534.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0534.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03285nam 22004452 4500 =001 5bc52c24-cb4c-4625-a883-53af8d40ed0f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020941006 =020 \\$z9781950192960$q(Paperback) =020 \\$a9781950192977$q(PDF) =024 7\$a10.21983/P3.0312.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFQ$2bicssc =072 7$aFIC040000$2bisacsh =072 7$aFDK$2thema =100 1\$aZamler-Carhart, Sasha Kaoru,$eauthor.$uNew School.$0(orcid)0000000330270629$1https://orcid.org/0000-0003-3027-0629 =245 14$aThe Goths & Other Stories /$cSasha Kaoru Zamler-Carhart. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (254 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the winter of 476 A.D. the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator as a matter of tax planning.In The Goths & Other Stories, sexual desire, food, space, and anger are distorted; prose fiction, experimental poetry, philosophy, and design theory intersect and breed. The poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book. The smell of seafood and speculative urban planning merge into a 1990s computer game, Abidjan has 12,756 streets with no way to go from one to another, an apocalypse of tax law and classical mythology descends upon suburbia and reveals a medieval theology of design, theater, and light.The book’s six stories are set in different times and places – sometimes within the same narrative – but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design – one whose medium is easier to reveal than to define. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afiction =653 \\$apoetry =653 \\$ahistory =653 \\$aphilosophy =653 \\$adesign =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0312.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0312.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03185nam 22004572 4500 =001 7c2700ae-b3ba-4771-8c2d-991309577ca6 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023932851 =020 \\$z9781685711320$q(Paperback) =020 \\$a9781685711337$q(PDF) =024 7\$a10.53288/0492.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFQ$2bicssc =072 7$aFIC040000$2bisacsh =072 7$aFDK$2thema =100 1\$aZamler-Carhart, Tis Kaoru,$eauthor.$uNew School.$0(orcid)0000000330270629$1https://orcid.org/0000-0003-3027-0629 =245 14$aThe Goths & Other Stories /$cTis Kaoru Zamler-Carhart. =250 \\$aSecond edition. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (254 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn the winter of 476 AD, the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator, Abidjan has 12,756 streets with no way to go from one to another, and the poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership.Readers of all centuries will feel at home in this book, as an apocalypse of tax law and classical mythology quietly descends upon their living room and reveals a medieval theology of design, theater, and light.The Goths & Other Stories is a collection of short works at the intersection of prose fiction, experimental poetry, philosophy, and design theory. The book’s six stories are set in different times and places—sometimes within the same narrative—but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design—one whose medium is easier to reveal than to define. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afiction =653 \\$apoetry =653 \\$aphilosophy =653 \\$ahistory =653 \\$adesign =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0492.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0492.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03573nam 22005052 4500 =001 f58100fb-f99d-4b1e-9f4f-f851e34fe06f =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020945724 =020 \\$z9781953035080$q(Paperback) =020 \\$a9781953035097$q(PDF) =024 7\$a10.21983/P3.0285.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aRNA$2bicssc =072 7$aKCP$2bicssc =072 7$aPOL005000$2bisacsh =072 7$aRNA$2thema =072 7$aKCP$2thema =245 04$aThe Great Awakening :$bNew Modes of Life amidst Capitalist Ruins /$cedited by Anna Grear, David (0002-3913-3930) Bollier. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (404 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAs we enter a time of climate catastrophe, worsening inequality, and collapsing market/state systems, can human societies transcend the old, dysfunctional paradigms and build the world anew? There are many signs of hope.In The Great Awakening, twelve cutting-edge activists, scholars, and change-makers probe the deep roots of our current predicament while reflecting on the social DNA for a post-capitalist future. We learn about seed-sharing in agriculture, blockchain technologies for networked collaboration, cosmolocal peer production of houses and vehicles, creative hacks on law, and new ways of thinking and enacting a rich, collaborative future. This surge of creativity is propelled by the social practices of commoning new modes of life for creating and sharing wealth in fair-minded, ecologically respectful ways.It is clear that the multiple, entangled crises produced by neoliberal capitalism cannot be resolved by existing political and legal institutions, which are imploding under the weight of their own contradictions. Present and future needs can be met by systems that go beyond the market and state. With experiments and struggle, a growing pluriverse of commoners from Europe and the US to the Global South and cyberspace are demonstrating some fundamentally new ways of thinking, being and acting. This ontological shift of perspective is making new worlds possible. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amarket economics =653 \\$acapitalism =653 \\$aliberalism =653 \\$anation-state =653 \\$acommons =653 \\$adigital innovation =653 \\$aontology =700 1\$aGrear, Anna,$eeditor.$uCardiff University.$0(orcid)0000000329931370$1https://orcid.org/0000-0003-2993-1370 =700 1\$aBollier, David (0002-3913-3930),$eeditor.$0(orcid)0000000239133930$1https://orcid.org/0000-0002-3913-3930 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0285.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0285.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02872nam 22004332 4500 =001 bc283f71-9f37-47c4-b30b-8ed9f3be9f9c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709187$q(Paperback) =024 7\$a10.21983/P3.0221.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afil =072 7$aDCF$2bicssc =072 7$aPOL005000$2bisacsh =072 7$aPOE009000$2bisacsh =100 1\$aSison, Jose Maria,$eauthor. =245 14$aThe Guerrilla Is Like a Poet – Ang Gerilya Ay Tulad ng Makata /$cJose Maria Sison. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (296 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis book is titled after the world-renowned poem of Jose Maria Sison, “The Guerrilla Is Like a Poet,” which celebrates with natural imagery and in a lyrical way the Filipino people’s revolutionary struggle for national liberation and democracy against foreign and feudal oppression and exploitation. The book contains poems from Sison’s Prison and Beyond, which won the Southeast Asia WRITE Award, as well as new poems that further develop the theme of struggle for national and social liberation as well as exile. It also carries articles of creative writers on the significance and relevance of his poetry. Sison is a Filipino revolutionary with extensive guerrilla experience and has been a recognized poet since his student days at the University of the Philippines. The publication of this book has been sparked by the effort of the Academy for Cultural Activism of the New World Summit to present the people’s culture in the national democratic struggle in the Philippines. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$arevolution =653 \\$aPhilippines =653 \\$apolitical imprisonment =700 1\$aStaal, Jonas,$eforeword by.$0(orcid)0000000234096034$1https://orcid.org/0000-0002-3409-6034 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0221.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0221.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03659nam 22004332 4500 =001 18d3d876-bcaf-4e1c-a67a-05537f808a99 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017952337 =020 \\$z9781947447165$q(Paperback) =020 \\$a9781947447172$q(PDF) =024 7\$a10.21983/P3.0180.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJMH$2bicssc =072 7$aPHI019000$2bisacsh =100 1\$aBrons, Lajos,$eauthor.$uLakeland University Japan.$0(orcid)0000000208905678$1https://orcid.org/0000-0002-0890-5678 =245 14$aThe Hegemony of Psychopathy /$cLajos Brons. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (120 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aAny social and political arrangement depends on acceptance. If a substantial part of a people does not accept the authority of its rulers, then those can only remain in power by means of force, and even that use of force needs to be accepted to be effective. Gramsci called this acceptance of the socio-political status quo “hegemony.” Every stable state relies primarily on hegemony as a source of control. Hegemony works through the dissemination of values and beliefs that create acceptance and that serve the interests of the state and/or the ruling elite (the “hegemones”). Hegemony is most efficient if it remains invisible. A key hegemonic belief is the idea that there is no alternative to the current socio-political status quo or that the way things are is “natural.” The current hegemony – that is, the set of values and beliefs that bolster the current socio-political status quo – is a hegemony of psychopathy: it promotes “cultural psychopathy” and destroys empathy and compassion, thus threatening everything that makes us human.The hegemony of psychopathy is responsible for massive human suffering. It must be fought and replaced with a counter-hegemonic set of values and beliefs that promote compassion and care. Fighting hegemony requires fighting the “pillars” that support it. Most important among these are the mass media and culture industry, and mainstream economics. The former is responsible for a continuous stream of hegemonic propaganda; the latter – among others – for providing a pseudo-scientific justification for the false belief that there is no alternative. The Hegemony of Psychopathy concludes with some considerations on tactics and strategy in the struggle against the hegemony of psychopathy, but does not – and cannot – offer any concrete advice. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aHolocaust =653 \\$apsychology =653 \\$acompassion =653 \\$amassmedia =653 \\$aethics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0180.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0180.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02664nam 22004332 4500 =001 0f26068a-b9fe-480b-9502-eb984cd6e21e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20202020\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2020930972 =020 \\$z9781950192717$q(Paperback) =020 \\$a9781950192724$q(PDF) =024 7\$a10.21983/P3.0284.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDNF$2bicssc =072 7$aFIC016000$2bisacsh =072 7$aDNL$2thema =072 7$aGBCQ$2thema =100 1\$aPettman, Dominic,$eauthor.$uNew School. =245 14$aThe Humid Condition :$b(More) Overheated Observations /$cDominic Pettman. =264 \1$aEarth, Milky Way :$bpunctum books,$c2020. =264 \4$c©2020 =300 \\$a1 online resource (194 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Humid Condition: (More) Overheated Observations continues on the clicking heels of Dominic Pettman’s Humid, All Too Humid (2016), providing a companion volume of pithy and witty observations for our overheated age. Covering topics from pop culture to academia to romance to politics to human mortality to everything in between, this collection of pointed musings aims to amuse, edify, instruct, provoke, tease, caution, and inspire. As with the first installment, the spirit of this book represents a fusion of Montaigne and Wilde; a mashup of Adorno and Yogi Berra; a parallel channeling of Marx and Marx (both Karl and Groucho). No doubt, Hannah Arendt would be appalled at the irreverence on display within these pages. Then again, “Heidegger has left the bildung.” And as the author himself notes: “I have nothing new to say. And I’m saying it!” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$acultural studies =653 \\$ahumor =653 \\$aaphorism =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0284.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0284.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03194nam 22004812 4500 =001 dc622348-8ef4-48a3-9ab0-cf401d7afc2c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019937173 =020 \\$z9781950192199$q(Paperback) =020 \\$a9781950192205$q(PDF) =024 7\$a10.21983/P3.0248.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSA$2bicssc =072 7$aLIT024000$2bisacsh =072 7$aDSA$2thema =072 7$aDSBH$2thema =072 7$aAMR$2thema =245 04$aThe Imagery of Interior Spaces /$cedited by Dominique Bauer, Michael J. Kelly. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (244 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aOn the unstable boundaries between “interior” and “exterior,” “private” and “public,” and always in some way relating to a “beyond,” the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature — from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth — reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels.This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary studies =653 \\$ainterior design =653 \\$aarchitecture =653 \\$acultural studies =653 \\$aspatiality =700 1\$aBauer, Dominique,$eeditor.$uKU Leuven. =700 1\$aKelly, Michael J.,$eeditor.$uBinghamton University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0248.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0248.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03341nam 22004452 4500 =001 f6b4d156-1be6-41f0-b641-66bf50016b24 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692620625$q(Paperback) =024 7\$a10.21983/P3.0129.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aFA$2bicssc =072 7$aFIC112000$2bisacsh =072 7$aFD$2thema =072 7$a5PGJ$2thema =100 1\$aWijnberg, Nachoem M.,$eauthor.$uUniversity of Amsterdam. =245 14$aThe Jews /$cNachoem M. Wijnberg; translated by Vincent W.J. van Gerven Oei. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (178 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Jews is an anti-historical thriller in the form of a Talmudic tragicomedy, taking place sometime during the Second World War. Stalin and his Minister of Security Beria are worried about the political developments in Germany, where Martin Heidegger has replaced Adolf Hitler as Chancellor of the Third Reich. Suspecting that the Frankfurt School, headed by Vice-Chancellor Walter Benjamin, has masterminded this takeover, he dispatches two Jewish actors, Salomon Maimon and Natalia Goncharova, to investigate the situation in the hope of uncovering the extent of the Jewish conspiracy.Upon arrival in Berlin, Maimon and Goncharova are received by Benjamin, who introduces them to Heidegger. The latter has stopped speaking to anyone except his mother since his rise to power, and Benjamin holds long speeches on the history of theater, the law, God, the royal gods and the old goddesses. Eventually, prodded by his mother, Heidegger marries Goncharova, surrounded by a merry audience.The novel ends on a plain somewhere between Moscow and Berlin, where the final battle for Jerusalem is being waged. In front of the entrance of a camp, Maimon and Benjamin are joined by a group of old Jews arriving by train, bringing the news of Stalin’s death by circumcision. They reenact scenes from the Old Testament while Jerusalem is burning. Did the world to come finally arrive? =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$afiction =653 \\$aholocaust =653 \\$aMartin Heidegger =653 \\$aJewish studies =653 \\$aWalter Benjamin =700 1\$avan Gerven Oei, Vincent W.J.,$etranslator.$uUniversity of Aberdeen.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0129.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0129.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03247nam 22004452 4500 =001 a4ff976a-ac8a-49b8-a89c-f52f3030ccaa =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20212021\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2021943710 =020 \\$z9781953035783$q(Paperback) =020 \\$a9781953035790$q(PDF) =024 7\$a10.53288/0319.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI004000$2bisacsh =072 7$aPHI035000$2bisacsh =072 7$aQDHR$2thema =100 1\$aMunro, Michael,$eauthor. =245 14$aThe Map and the Territory /$cMichael Munro. =264 \1$aEarth, Milky Way :$bpunctum books,$c2021. =264 \4$c©2021 =300 \\$a1 online resource (72 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$a“I didn’t even know that was a question I could ask.” That remark from a student in an introductory philosophy course points to the primary body of knowledge philosophy produces: a detailed record of what we do not know. When we come to view a philosophical question as well-formed and worthwhile, it is a way of providing as specific a description as we can of something we do not know. The creation or discovery of such questions is like noting a landmark in a territory we’re exploring. When we identify reasonable, if conflicting, answers to this question, we are noting routes to and away from that landmark. And since proposed answers to philosophical questions often contain implied answers to other philosophical questions, those routes connect different landmarks.The result is a kind of map: a map of the unknown.Yet when it comes to the unknown, and all the more so to its cartography, might it not make sense to take our orientation from Borges: What’s in question here, with respect to philosophical questions, is an incipient, unlocalizable threshold—a terrain neither subjective, nor entirely objective, one neither of representation, nor finally of simple immediacy—there where the map perceptibly fails to diverge from the territory. Amid Inclemencies of weather and fringed, as per Borges, with ruin and singular figures—with Animals and Beggars—what’s enclosed is an attempt to chart the contours of this curious immanence. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aJorge Luis Borges =653 \\$aphilosophy =653 \\$amapping =653 \\$aterritory =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0319.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0319.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02778nam 22004212 4500 =001 7be9aa8c-b8af-4b2f-96ff-16e4532f2b83 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20122012\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789081709132$q(Paperback) =024 7\$a10.21983/P3.0216.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$anub =072 7$a2HNR$2bicssc =072 7$aFIC111020$2bisacsh =245 04$aThe Miracle of Saint Mina – Gis Miinan Nokkor /$cedited by El-Shafie El-Guzuuli, Vincent W.J. van Gerven Oei. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2012. =264 \4$c©2012 =300 \\$a1 online resource (162 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Miracle of Saint Mina is one of the core texts in the small corpus of texts written in Old Nubian, a Nilo-Saharan language spoken between the third and fourth cataract of the Nile river until about the fifteenth century, and written in an adaptation of the Coptic script. It is one of the oldest written indigenous African languages. The Miracle of Saint Mina, most probably written around 1000 A.D., is a classical miracle story featuring one of the most well-known Egyptian saints. This publication features a translation of the text into one of the remaining modern Nubian languages, Dongolawi-Andaandi, by El-Shafie El-Guzuuli, thus establishing for the first time a link between the Old Nubian literary heritage and the contemporary colloquial language. The Old Nubian is also accompanied by a revised translation to English and a grammatical analysis. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aOld Nubian =653 \\$amiracle story =653 \\$aChristianity =653 \\$aDongolawi =700 1\$aEl-Guzuuli, El-Shafie,$eeditor. =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of New York Tirana.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0216.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0216.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03187nam 22004332 4500 =001 33917b8f-775f-4ee2-a43a-6b5285579f84 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615945446$q(Paperback) =024 7\$a10.21983/P3.0065.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI004000$2bisacsh =072 7$aGLK$2thema =072 7$aQDTK$2thema =100 1\$aJones, Trevor Owen,$eauthor. =245 14$aThe Non-Library /$cTrevor Owen Jones. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Non-Library is a non-standard expression for life that is lived without mediation from words, images, or even ideas. While a thing called “the Library” continues to terrorize humanity even as it enters its last stages as a consequence of cataclysmic climate change and late capitalism, the Non-Library is a strictly performative, ahistorical immanence that suspends the Library’s insistent calls to categorization, representation, and reification. Of course, to describe or circumscribe such ineffability has its limits, but it also has its thresholds to cross: with commentary on Derrida’s Archive Fever, a deconstruction of Fichte, a para-biographical meditation on librarianship, and a vamping on the possible “Non-Virgil,” The Non-Library gently proposes a negative capability in liminal spaces in order to best escape and resist the Library’s stranglehold on human knowledge and its requisite social imaginations.Building on the non-standard thought of Francois Laruelle’s non-philosophy, while not beholden to it, The Non-Library attempts to leave the discourse of the university behind and uses its citations of Badiou, Borges, Bataille, and Dante instead to construct a philo-fiction more akin to the immanence of music and its many expressions rather than Philosophy’s demand that all questions be eventually answered, that the Real is ultimately thinkable, or that all of Life might possibly be contained in the Library. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$alibraries =653 \\$aJorge Luis Borges =653 \\$atheory =653 \\$aarchives =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0065.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0065.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02753nam 22004332 4500 =001 a8e6722a-1858-4f38-995d-bde0b120fe8c =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017952350 =020 \\$z9781947447189$q(Paperback) =020 \\$a9781947447196$q(PDF) =024 7\$a10.21983/P3.0179.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a2HNR$2bicssc =072 7$aLAN006000$2bisacsh =100 1\$aSmagina, Eugenia,$eauthor.$uRussian Academy of Sciences. =245 14$aThe Old Nubian Language /$cEugenia Smagina; translated by José Andrés Alonso de la Fuente. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (82 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEugenia Smagina (Евгeния Б. Смaгина) first published her grammar of the Old Nubian language in 1986 in Russian. For more than thirty years the work has remained untranslated, even though the late Gerald M. Browne affirmed that “this lucid, well-argued presentation should be available to all Nubiologists and ought therefore be translated into a western language.”Slavicist José Andrés Alonso de la Fuente has prepared a first English translation of this concise but indispensable work, which forms a necessary counterpart to Browne’s classic Old Nubian Grammar. The grammar is divided into sections on script, lexicon, morphology, and syntax, and is followed by the analysis of a sample text, known as The Miracle of St. Mēnas.Smagina’s The Old Nubian Language provides an excellent first introduction into the grammar of this medieval Nilo-Saharan language. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aOld Nubian =653 \\$agrammar =653 \\$alinguistics =653 \\$aphilology =700 1\$aAlonso de la Fuente, José Andrés,$etranslator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0179.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0179.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03376nam 22004692 4500 =001 0cd80cd2-1733-4bde-b48f-a03fc01acfbf =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780998237572$q(Paperback) =024 7\$a10.21983/P3.0156.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$a2HNR$2bicssc =072 7$aLCO017000$2bisacsh =245 04$aThe Old Nubian Texts from Attiri /$cedited by Vincent W.J. van Gerven Oei, Vincent Pierre-Michel Laisney, Giovanni Ruffini, Alexandros Tsakos, Kerstin Weber-Thum, Petra Weschenfelder. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Old Nubian Texts from Attiri is the first publication in the Dotawo: Monographs series. It presents heretofore unpublished material: an edition of a series of manuscripts discovered during the Aswan High Dam campaign at the site of Attiri, a rocky island in the Batn el-Hajjar region in Sudan, and does so in an innovative way, through an intensive collaboration of the editors under the name of the Attiri Collaborative. By bringing together their diverse backgrounds in linguistics, archeology, Bible studies, history, anthropology, and philology, the editors hope to have provided an example of a new model of collective manuscript editing and the results such collaboration can attain.The collection consists of 15 manuscript fragments that were all written in Old Nubian. Among these manuscripts special mention should be made of two parchment leaves from a codex dedicated to works on the Archangel Michael, a lectionary containing fragments from the Gospel of Matthew and the Second Letter to the Corinthians, as well as a rare letter written on a leather sheet. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aAttiri =653 \\$aSudan =653 \\$aepigraphy =653 \\$aNubian Studies =653 \\$aarchaeology =700 1\$avan Gerven Oei, Vincent W.J.,$eeditor.$uUniversity of Aberdeen.$0(orcid)0000000316374261$1https://orcid.org/0000-0003-1637-4261 =700 1\$aLaisney, Vincent Pierre-Michel,$eeditor.$uPontifical Biblical Institute. =700 1\$aRuffini, Giovanni,$eeditor.$uFairfield University. =700 1\$aTsakos, Alexandros,$eeditor.$uUniversity of Bergen. =700 1\$aWeber-Thum, Kerstin,$eeditor.$uHumboldt-Universität zu Berlin. =700 1\$aWeschenfelder, Petra,$eeditor.$uUniversity of Vienna. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0156.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0156.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02724nam 22003972 4500 =001 60813d93-663f-4974-8789-1a2ee83cd042 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692493908$q(Paperback) =024 7\$a10.21983/P3.0108.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aMunro, Michael,$eauthor. =245 10$aTheory Is Like a Surging Sea /$cMichael Munro. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (104 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn a 1917 letter to Gershom Scholem, Walter Benjamin writes, “Theory is like a surging sea.” This small book takes more than its title from that line—it takes that line as a point of departure in Erich Auerbach’s sense, an Ansatzpunkt, as a compositional principle so that what follows can be read in its entirety as a gloss on the remainder of Benjamin’s sentence: “Theory is like a surging sea, but the only thing that matters to the wave […] is to surrender itself to its motion in such a way that it crests and breaks.” That motion, in the pages to follow, takes up in its sweep two threads: it folds an episodic meditation on the negative and the problematic into a series of singular interrogations exemplary of the positive being of the problematic, the objective being of problems and questions, in a movement of implication and explication between poetry and philosophy in the tradition of what’s come to be known as theory. Theory is like a surging sea because it’s as part of a revolutionary tradition that it crests and breaks. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$acritical theory =653 \\$aaesthetics =653 \\$apoetics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0108.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0108.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 04466nam 22006132 4500 =001 3b817d8c-864e-4050-90e2-371c64a3e22e =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20232023\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2023946988 =020 \\$z9781685711245$q(Paperback) =020 \\$a9781685711252$q(PDF) =024 7\$a10.53288/0448.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFFC$2bicssc =072 7$aMJCJ$2bicssc =072 7$aJFD$2bicssc =072 7$aMED022090$2bisacsh =072 7$aSOC052000$2bisacsh =072 7$aMJCJ4$2thema =072 7$aJBFF$2thema =072 7$aJBCC$2thema =245 04$aThe Pandemic Visual Regime :$bVisuality and Performativity in the Covid-19 Crisis /$cedited by Julia Ramírez-Blanco, Francesco Spampinato. =264 \1$aEarth, Milky Way :$bpunctum books,$c2023. =264 \4$c©2023 =300 \\$a1 online resource (268 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Covid-19 pandemic has been expressed in various ways through visuality and performance, and some of its more nuanced cultural implications have taken place in a realm that goes beyond words. Through the exploration of the visual culture produced during and in response to the Covid-19 pandemic, The Pandemic Visual Regime: Visuality and Performativity in the Covid-19 Crisis highlights the key role played by images in shaping our understanding of the epochal transformations our society is undergoing.This book argues that visuality and its relationships with the performative have played such a significant role in the Covid-19 pandemic that we can even speak of the emergence of a “pandemic visual regime,” a new way of seeing and representing the world under this global emergency.Through an interdisciplinary framework, The Pandemic Visual Regime aims to answer an array of questions: In which ways have the effects of the pandemic been racialized, thereby reinforcing white supremacy? How are our responses to Covid-19 shaped by the Hollywood “outbreak narrative” of films such as Contagion? How has design responded to our new pandemic needs? How have infographics affected our perception? In which new ways have we come to inhabit private, public, and virtual space? Regarding the latter, what changes have there been in the forms of digital surveillance? On the other side of the spectrum, what forms has mutual aid taken and what have been our forms of relating with nature, both during lockdown and after lockdown was over? All these questions open the field to rethinking the visuality of our post-pandemic zeitgeist. =536 \\$aMinisterio de Ciencia e Inovación$cRYC2021-033703-I$eGrant Ramón y Cajal =536 \\$aEuropean Union$eNextGenerationEU/PRTR =536 \\$aMinisterio de Ciencia e Inovación$cMCIN/AEI/10.13039/501100011033$fERDF A Way of Making Europe and HUMENERGE (PID2020-113272RA-100), 2021-2024 =536 \\$aAgencia Statal de Investigación$cAEI/10.13039/501100011033$fHistopia (PID2021-123465NB-I00), 2022–2025 =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aCOVID-19 =653 \\$avisual studies =653 \\$aperformance =653 \\$aspeculative design =653 \\$afilm studies =653 \\$adigital culture =653 \\$asocial movements =653 \\$aanimal studies =653 \\$adystopia =700 1\$aRamírez-Blanco, Julia,$eeditor.$uUniversidad Complutense de Madrid.$0(orcid)0000000150684613$1https://orcid.org/0000-0001-5068-4613 =700 1\$aSpampinato, Francesco,$eeditor.$uUniversità di Bologna.$0(orcid)0000000280982838$1https://orcid.org/0000-0002-8098-2838 =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.53288/0448.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.53288/0448.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02909nam 22004332 4500 =001 b605be50-a3bb-4d1f-a341-95dd486c63a9 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20172017\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2017960536 =020 \\$z9781947447363$q(Paperback) =020 \\$a9781947447370$q(PDF) =024 7\$a10.21983/P3.0190.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDSBB$2bicssc =072 7$aLIT011000$2bisacsh =245 04$aThe Passenger :$bMedieval Texts and Transits /$cedited by James L. Smith. =264 \1$aEarth, Milky Way :$bpunctum books,$c2017. =264 \4$c©2017 =300 \\$a1 online resource (136 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat strange transactions take place in the mobile spaces between loci? How does the flow of forces between fixed points enliven texts, suggest new connections, and map out the dizzying motion of myriad interactions? The essays in this volume were first presented at the 2014 New Chaucer Society Congress in Reykjavik, Iceland where a meeting of minds in a shared intermediate space initiated dialogue from diverse perspectives and wended its way through the invisible spaces between concrete categories, objects, and entities.The resulting volume asks a core question: what can we learn by tarrying at the nexus points and hubs through which things move in and out of texts, attempting to trace not the things themselves or their supposedly stable significations, but rather their forms of emergence and retreat, of disorder and disequilibrium? The answer is complex and intermediate, for we ourselves are emerging and retreating within our own systems of transit and experiencing our own disequilibrium. Scholarship, like transit, is never complete and yet never congeals into inertia. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aliterary studies =653 \\$amedieval literature =653 \\$aChaucer =653 \\$anetwork theory =653 \\$asociology =700 1\$aSmith, James L.,$eeditor.$uUniversity of York. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0190.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0190.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 05670nam 22005772 4500 =001 ecfe6c89-6faa-46e2-bdfd-c1fb0f0088b2 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019943219 =020 \\$z9781950192274$q(Paperback) =020 \\$a9781950192281$q(PDF) =024 7\$a10.21983/P3.0257.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJNA$2bicssc =072 7$a1KL$2bicssc =072 7$aHBTR$2bicssc =072 7$aEDU040000$2bisacsh =072 7$aPHI019000$2bisacsh =072 7$aJNA$2thema =072 7$a5PB-US-H$2thema =072 7$aNHTR$2thema =100 1\$aDussel, Enrique,$eauthor.$uUniversidad Autónoma Metropolitana. =245 14$aThe Pedagogics of Liberation :$bA Latin American Philosophy of Education /$cEnrique Dussel; translated by David I. Backer, Cecilia Diego. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (204 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aEnrique Dussel is considered one of the founding philosophers of liberation in the Latin American tradition, an influential arm of what is now called decoloniality. While he is astoundingly prolific, relatively few of his works can be found in English translation — and none of these focus specifically on education. Founding members of the Latin American Philosophy of Education Society David I. Backer and Cecilia Diego bring to us Dussel’s The Pedagogics of Liberation: A Latin American Philosophy of Education, the first English translation of Dussel’s thinking on education, and also the first translation of any part of his landmark multi-volume work Towards an Ethics of Latin American Liberation.Dussel’s ouevre is an impressive intellectual mosaic that uses Europeans to disrupt European thinking. This mosaic has at its center French philosopher Emmanuel Levinas, but also includes Ancient Greek philosophy, Thomist theology, modern Enlightenment philosophy, analytic philosophy of language, Marxism, psychoanalysis (Freud, Klein, evolutionary psychology, neuroscience), phenomenology (Sartre, Heidegger, Husserl, Hegel), critical theory (Frankfurt School, Habermas), and linguistics. Dussel joins these traditions to Latin American history, literature, and philosophy, specifically the work of Octavio Paz, Ivan Illich, and the philosophers of liberation whom Dussel studied with in Argentina before his exile to Mexico in the late 1970s.Drawing heavily from the ethics of Levinas, Dussel examines the dominating and liberating features of intimate, concrete, and observable interactions between different kinds of people who might sit down and have face-to-face encounters, specifically where there may be an inequality of knowledge and a responsibility to guide, teach, learn, care, or study: teacher–student, politician–citizen, doctor–patient, philosopher–nonphilosopher, and so on. Those occupying the superior position of these face-to-face encounters (teachers, politicians, doctors, philosophers) have a clear choice for Dussel when it comes to their pedagogics. They are either open to hearing the voice of the Other, disrupting their sense of what is and should be by a newness beyond what they know; or, following the dominant pedagogics, they can try to communicate and instruct their sense of what is and should be (which Dussel, in a Latin American context, associates with dominant cultures) to the (supposed) tabula rasas in their charge. Dussel calls that sense of what is and should be “lo Mismo.” [The French in Levinas is “le Même,” and Backer and Diego have translated Dussel’s “lo Mismo” as “the Same.”]This groundbreaking translation makes possible a face-to-face encounter between an Anglo Philosophy of Education and Latin American Pedagogics. “Pedagogics” should be considered as a type of philosophical inquiry alongside ethics, economics, and politics. Dussel’s pedagogics is a decolonizing pedagogics, one rooted in the philosophy of liberation he has spent his epic career articulating. With an Introduction by renowned philosopher Linda Martin Alcoff, this book adds an essential voice to our conversations about teaching, learning, and studying, as well as critical theory in general. =536 \\$aWest Chester University =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy of education =653 \\$aliberation pedagogy =653 \\$aArgentina =653 \\$aLatin America =653 \\$apedagogy =653 \\$adecoloniality =653 \\$aethical philosophy =700 1\$aBacker, David I.,$etranslator.$uWest Chester University. =700 1\$aDiego, Cecilia,$etranslator.$uColumbia University. =700 1\$aMartín Alcoff, Linda,$epreface by.$uHunter College. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0257.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0257.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03315nam 22004212 4500 =001 ae6d88a5-a488-49b3-b8f8-8ed3e9b1e9c4 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692722343$q(Paperback) =024 7\$a10.21983/P3.0140.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJNA$2bicssc =072 7$aEDU040000$2bisacsh =245 04$aThe Pedagogics of Unlearning /$cedited by Éamonn Dunne, Aidan Seery. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (194 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWhat does it mean to unlearn? Once we have learned something, is it ever possible to unlearn that something? If something is said to have been unlearned, does that mean that it is simply forgotten or does some residual force of learning, some perverse force, also resonate in ways that might help us to rethink traditional approaches to teaching and learning? Might we say that education today is haunted by the spectre of unlearning?This book invites readers to reflect on the possibilities of knowing, reflecting, understanding, teaching and learning in ways that allow us to imagine the other side of education, the side which understands non-knowledge, ignorance, stupidity and wonder as potentially the most important learning experiences we can ever have. In a series of provocative essays by some of the world’s most renowned theorists in philosophy, psychoanalysis, cultural studies, politics and education, The Pedagogics of Unlearning challenges us to think again about what we mean when we talk about learning — about what it really means to learn — and whether the kinds of learning we imagine in our classrooms and daily lives are actually synonymous with the sort of learning we envision when we think and talk about the purpose and passage of education.If you think you know what education and learning are doing, what teaching strategies do, and what learning outcomes are, then this book asks you to think again, to unlearn what you have learned, to learn to unlearn =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aradical pedagogy =653 \\$ahigher education =653 \\$acultural theory =653 \\$apsychoanalysis =653 \\$aphilosophy =700 1\$aDunne, Éamonn,$eeditor.$uTrinity College Dublin. =700 1\$aSeery, Aidan,$eeditor.$uTrinity College Dublin. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0140.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0140.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02479nam 22004452 4500 =001 29bae81a-80ad-470d-926a-c02ceef170dc =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615870861$q(Paperback) =024 7\$a10.21983/P3.0047.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFSK$2bicssc =072 7$aLIT004160$2bisacsh =072 7$aDSB$2thema =072 7$aJBSJ$2thema =072 7$a5PSG$2thema =100 1\$aKemp, Jonathan,$eauthor.$uBirkbeck, University of London. =245 14$aThe Penetrated Male /$cJonathan Kemp. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (250 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThrough nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber’s Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amasculinity =653 \\$aqueer theory =653 \\$agender studies =653 \\$asexuality =653 \\$agay life =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0047.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0047.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03830nam 22004572 4500 =001 571255b8-5bf5-4fe1-a201-5bc7aded7f9d =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20192019\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2019932679 =020 \\$z9781950192137$q(Paperback) =020 \\$a9781950192144$q(PDF) =024 7\$a10.21983/P3.0245.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aBM$2bicssc =072 7$aBIO026000$2bisacsh =100 1\$aManning, Erin,$eauthor.$uConcordia University. =245 14$aThe Perfect Mango /$cErin Manning. =264 \1$aEarth, Milky Way :$bpunctum books,$c2019. =264 \4$c©2019 =300 \\$a1 online resource (156 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aIn 1994, at the age of twenty-five, when the “terrible brokenness that comes with sexual assault” was folded deep within her body and thoughts of suicide were always close by, Erin Manning wrote The Perfect Mango at an almost feverish pitch: nineteen chapters in nineteen days, a sort of self-rescue operation, where writing became a form of making (and feeling) life otherwise. Throughout those nineteen days, and although not able to fully articulate it to herself at the time, Manning wrote her way into a “composition that asks how else life might be lived.” And in the rhythms of that composition, which was also a living, Manning was, and is, able to refuse the category and norm and stillness of “victim” (while still understanding the inheritances of violence) in order to follow instead the more-than-I as well as the joy of the “more-than of experience in the making.”Twenty-five years later, Manning allows these earlier writings to find their way back into the world, which is also a way of giving “voice to those moments of messy survival” while also asking us, who share in (and help to bear) those moments as readers, to consider “other ways of listening to the urgency that is living.” To (re)publish the book now is to give it a place in the world in a way that honors its force as something that is always beyond anyone’s claim to it, even Manning’s. In this sense, The Perfect Mango invites us, with Manning, to be in excess of ourselves, and also to consider, in Manning’s words, “how to create conditions for living beyond humanism’s fierce belief that we, the privileged, the neurotypicals, the as-yet-unscathed, the able-bodied, hold the key to all perspectives in the theatre of living.” Ultimately, The Perfect Mango and Manning’s reflections on its composition ask us to consider living “in the fierce celebration of a world invented by those modes of life which tear at the colonial, white, neurotypical fabric of life as we know it.” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$amemoir =653 \\$asexual abuse =653 \\$atrauma =653 \\$aviolence =653 \\$aembodiement =653 \\$acreative non-fiction =653 \\$aneurodiversity =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0245.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0245.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02538nam 22004692 4500 =001 49ebcb4a-928f-4d83-9596-b296dfce0b20 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20142014\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615965963$q(Paperback) =024 7\$a10.21983/P3.0062.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aAKLB$2bicssc =072 7$aCGN004050$2bisacsh =072 7$aTHFP$2thema =072 7$aXQA$2thema =245 04$aThe Petroleum Manga :$bA Project by Marina Zurkow /$cedited by Valerie Vogrin, Marina Zurkow; illustrations by Marina Zurkow. =264 \1$aBrooklyn, NY :$bpunctum books,$c2014. =264 \4$c©2014 =300 \\$a1 online resource (172 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThe Petroleum Manga, first conceived of and rendered as 10-foot banners printed on Tyvek for gallery installation is now reproduced in book form.Originally, manga was used in Japanese to refer to whimsical drawings or picture books. Long before manga was a multi-billion-dollar-a-year comic book industry, there was Hokusai’s thirteen-volume manga, depicting everything from trees to demons, from squirrels to shingles. This was the work that inspired the form for Marina Zurkow’s own crazy amalgam depicting a taxonomy of products derived from petroleum. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aillustration =653 \\$apetroleum =653 \\$amanga =653 \\$apoetry =653 \\$aecology =653 \\$aphilosophy =653 \\$anature =700 1\$aVogrin, Valerie,$eeditor.$uSouthern Illinois University Edwardsville. =700 1\$aZurkow, Marina,$eeditor, illustrator.$uNew York University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0062.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0062.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02354nam 22003852 4500 =001 b55c95a7-ce6e-4cfb-8945-cab4e04001e5 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9789491914089$q(Paperback) =024 7\$a10.21983/P3.0227.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aFIC064000$2bisacsh =100 1\$aRosenbridge, Bardsley,$eauthor. =245 10$aTo Be, or Not to Be :$bParaphrased /$cBardsley Rosenbridge. =264 \1$aThe Hague/Tirana :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (150 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aTo Be, or Not to Be: Paraphrased is an expanding deconstruction of Hamlet’s famous existential question, achieved by putting the line through paraphrasing software 50 times. With each permutation, the quotation grows longer and its meaning is distorted, causing the question to question its own existence by acting as a faulty self-replicator, a nonsensical self-affirmation that destroys itself in the process of becoming. This controlled explosion of a sentence was performed by Bardsley Rosenbridge as part of his work with the Dark Meaning Research Institute, a group of parasemantic experimenters developing innovative ways to extract hidden meaning from the world around us. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported license (CC BY-NC-ND 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-nd/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$apoetry =653 \\$aWilliam Shakespeare =653 \\$aexperimental writing =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0227.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0227.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03556nam 22004212 4500 =001 f456bebb-2710-4140-a182-aa1d713460c7 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20162016\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692700839$q(Paperback) =024 7\$a10.21983/P3.0139.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =041 0\$aeng$afre =072 7$aAMA$2bicssc =072 7$aARC013000$2bisacsh =100 1\$aLambert, Léopold,$eauthor. =245 10$aTopie Impitoyable :$bThe Corporeal Politics of the Cloth, the Wall, and the Street / Les politiques corporelles du vêtement, du mur et la rue /$cLéopold Lambert; translated by Anna Kłosowska. =264 \1$aEarth, Milky Way :$bpunctum books,$c2016. =264 \4$c©2016 =300 \\$a1 online resource (170 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aQu’est-ce qu’un corps? Ce livre s’attache d’avantage à se poser cette question qu’à y répondre. L’ouvrage propose de complexifier quelques lieux communs à diverses échelles de proximité de cet assemblage matériel qu’est le corps. Ceci permet d’intégrer pleinement les objets, atmosphères et autres corps environnant celui-ci afin de proposer une lecture politique de leurs relations volontaires et fortuites. Du sweatshirt à capuche porté par Trayvon Martin lorsqu’il se fit tuer dans la banlieue de Miami Gardens, Florida, aux rues new-yorkaises durant Occupy Wall Street, en passant par le mur d’apartheid en Palestine, ce livre progresse par une succession d’exemples illustrant l’hypothèse selon laquelle les corps et les objets de toutes tailles entretiennent nécessairement des rapports politiques entre eux.What is a body? This book is more attached to raising the question than in offering a definitive answer. Instead, Lambert proposes to make more complex certain commonplaces located at various degrees of proximity to the body’s material assemblage, allowing a better integration of the surrounding objects, atmosphere and other bodies and proposing a political reading of their relationship to the body, whether deliberate or accidental. From the hoodie that Trayvon Martin wore when he was killed in the suburbs of Miami Gardens, Florida, to the streets of New York City during Occupy Wall Street and the apartheid wall in Palestine, this book moves through a series of episodes that illustrate how bodies and objects of all sizes are enmeshed in deeply entangled political relationships. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aarchitecture =653 \\$adesign theory =653 \\$aglobal politics =653 \\$afashion =700 1\$aKłosowska, Anna,$etranslator.$uMiami University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0139.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0139.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03560nam 22004212 4500 =001 34a24b11-f034-4cea-b754-f6e5bd065c60 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20152015\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780692492413$q(Paperback) =024 7\$a10.21983/P3.0109.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aHPCF$2bicssc =072 7$aPHI013000$2bisacsh =072 7$aPHI019000$2bisacsh =100 1\$aKolozova, Katerina,$eauthor.$uInstitute of Social Sciences and Humanities, Skopje. =245 10$aToward a Radical Metaphysics of Socialism :$bMarx and Laruelle /$cKaterina Kolozova. =264 \1$aBrooklyn, NY :$bpunctum books,$c2015. =264 \4$c©2015 =300 \\$a1 online resource (120 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aDeparting from the conventional readings of Karl Marx’s Capital and other of his works, by way of François Laruelle’s “radicalization of concepts,” Katerina Kolozova identifies a theoretical kernel in Marx’s thought whose critical and interpretative force can be employed without reference to its subsequent interpretations in the philosophical mainstream. The latter entails a process of abstracting a philosophical legacy — or rather, of putting it in brackets — and then codifying a history of a learned interpretation established in supposed fidelity to the theoretical project of a “master.” Interpreting the master implies a mastery of doctrinal tools, which results in establishing a catechism of the Logos of the Master. And this catechism interferes, Kolozova argues, with more direct encounters with Marx’s writings.As we know, Marx’s rigorously descriptive language unravels the radical core of capitalist economic processes and, through that unraveling, also reveals capitalism’s necessary exploitation and subjugation of human labor. Toward a Radical Metaphysics of Socialism attempts to recuperate and emancipate the notion of metaphysics in this scenario by virtue of radicalizing thought’s encounter with the Real. Kolozova argues that this metaphysical drama is at the origin of the social and economic injustices of contemporary global economic-political realities, and she illustrates this state of affairs in discussions of the problem of wage labor, automated speculation as the core of late capitalism, the post-2008 financial crisis, the status of technology in late capitalism, sexual difference and gender, and the human and non-human body’s subjugation capitalist automation =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aphilosophy =653 \\$aspeculative realism =653 \\$anon-philosophy =653 \\$aMaxism =653 \\$ametaphysics =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0109.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0109.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03452nam 22004212 4500 =001 d6651c3c-c453-42ab-84b3-4e847d3a3324 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615767000$q(Paperback) =024 7\$a10.21983/P3.0023.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aJFCD$2bicssc =072 7$aPHI013000$2bisacsh =100 1\$aCole, David R.,$eauthor.$uWestern Sydney University. =245 10$aTraffic Jams :$bAnalysing Everyday Life through the Immanent Materialism of Deleuze & Guattari /$cDavid R. Cole. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (60 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aThis dead letter presents an exploration of the immanent materialism of Deleuze & Guattari as theorised in A Thousand Plateaus as a means to analysing everyday life. The evidence consists of art, film and objects from life that relate to and suggest the complex ways in which we are affected by traffic jams. Reciprocating substrata of everyday life build upon the unconscious, and show how the abstract turbulence of everyday life forms eddies and flows that may be followed and understood. The immanent materialism of Deleuze & Guattari is a philosophical construction that leads to the formation of ‘plateaus’ as they were executed in A Thousand Plateaus. The plateau of this dead letter is [21 October 2011: the Petro-Citizen] and is populated with traffic jams, car crashes, global environmental concerns and the psychological and sociological contingencies that accompany the petro-citizen. Connections between the strata that make up the plateau of the petro-citizen will deliberately be left as open-ended and speculative to show how the petro-citizen functions as a flagrant construct in everyday life, which includes the desire for petrol and explains the resulting panpsychic petro-political landscape. The double-articulation of the plateau depends upon the ways in which the petro-citizen and petro-politics create reciprocating realms of motivation and drive that tend towards contemporary double-articulation, paradox and contradiction with respect to the usages of oil. This double-articulation results in a multiple chequered flag or illusionary global end-game that designates the current human relationships with oil. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aGilles Deleuze =653 \\$aFelix Guattari =653 \\$atraffic =653 \\$apetropolitics =653 \\$acultural studies =653 \\$aoil =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0023.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0023.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02233nam 22004452 4500 =001 1e5ea7bf-a13b-4bfa-834d-1c9209f99c19 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018945512 =020 \\$z9781947447639$q(Paperback) =020 \\$a9781947447646$q(PDF) =024 7\$a10.21983/P3.0204.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE021000$2bisacsh =100 1\$aStrouse, A.W.,$eauthor.$uThe Graduate Center, CUNY. =245 10$aTransfer Queen /$cA.W. Strouse. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (378 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aCruising the New York City subway, the Transfer Queen is on the prowl! These voyeuristic figure drawings—both poetic and visual—sketch the men of Gotham’s transportation system. A.W. Strouse and Patty Barth spy on strangers with a special kind of anonymous intimacy. Transfer Queen is ideal reading material for kinky commuters. But remember: “A crowded subway car is no excuse for unlawful sexual conduct!” =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$agay poetry =653 \\$asexuality =653 \\$atransportation =653 \\$aNew York City =653 \\$aerotica =700 1\$aBarth, Patty,$eillustrator. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0204.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0204.1.00_frontcover.png$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 03589nam 22004212 4500 =001 b761f18e-a2b6-4343-917f-646d64b54628 =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20132013\\\\\\\\ob\\\\000\0\eng\d =020 \\$z9780615790374$q(Paperback) =024 7\$a10.21983/P3.0026.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aACK$2bicssc =072 7$aHIS037010$2bisacsh =245 00$aTransparent Things :$bA Cabinet /$cedited by Maggie M. Williams, Karen Eileen Overbey. =264 \1$aBrooklyn, NY :$bpunctum books,$c2013. =264 \4$c©2013 =300 \\$a1 online resource (88 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aInspired by a passage in Vladmir Nabokov’s Transparent Things (1972), and also compiled as a future love letter to The Material Collective, the essays collected here play with the transparency of pedagogy, scholarship, and writing, as well as with objects that can be seen through, such as crystals and stained glass. As Nabokov wrote, When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!For the art and literary historians gathered together in this volume (Angela Bennett Segler, Jennifer Borland, Karen Eileen Overbey, Nancy Thompson, and Maggie M. Williams), all students of medieval material, these tensions between surface and depth, present and past, concentration and skimming are all too familiar. The inherent contradictions of medieval objects, their irreducibility to either the purely intellectual or the merely physical, are at once the delights and the dangers of the art historian’s work. This book thus offers a dialogue on the question of how our encounters with physical things spark a process and how objects might allow unique collisions between the past and the present, the human and the inanimate, the practice of history and lived experience. As works of medieval studies or art history, these essays are incomplete, awkward, and provisional. Some of them may even read like embarrassing teenage poetry. This collection is like that dusty box in the basement: it is full of raw, unedited, transparent expressions of affect, of the sort we have learned to hide. =538 \\$aMode of access: World Wide Web. =540 \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license (CC BY-NC-SA 3.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/3.0/ =588 0\$aMetadata licensed under CC0 Public Domain Dedication. =653 \\$aart history =653 \\$amedieval architecture =653 \\$aobjects =653 \\$abook history =653 \\$aart theory =700 1\$aWilliams, Maggie M.,$eeditor.$uWilliam Paterson University. =700 1\$aOverbey, Karen Eileen,$eeditor.$uTufts University. =710 2\$apunctum books,$epublisher. =856 40$uhttps://doi.org/10.21983/p3.0026.1.00$zConnect to e-book =856 42$uhttps://books.punctumbooks.com/10.21983/P3.0026.1.00_frontcover.jpg$zConnect to cover image =856 42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License =LDR 02506nam 22004332 4500 =001 992f0e59-77d2-4c46-bc15-e85404660d8a =006 m\\\\\o\\d\\\\\\\\ =007 cr\\n\\\\\\\\\ =008 241212t20182018\\\\\\\\ob\\\\000\0\eng\d =010 \\$a2018941710 =020 \\$z9781947447592$q(Paperback) =020 \\$a9781947447608$q(PDF) =024 7\$a10.21983/P3.0203.1.00$2doi =040 \\$aUkCbTOM$beng$elocal =072 7$aDCF$2bicssc =072 7$aPOE005010$2bisacsh =100 1\$aRemein, Daniel C.,$eauthor.$uUniversity of Massachusetts Boston. =245 10$aTreatise on the Marvelous for Prestigious Museums /$cDaniel C. Remein. =264 \1$aEarth, Milky Way :$bpunctum books,$c2018. =264 \4$c©2018 =300 \\$a1 online resource (110 pages). =336 \\$atext$btxt$2rdacontent =337 \\$acomputer$bc$2rdamedia =338 \\$aonline resource$bcr$2rdacarrier =500 \\$aAvailable through punctum books. =506 0\$aOpen Access$fUnrestricted online access$2star =520 \\$aWrapped in modernist architect Marcel Breuer’s 1971 addition to the Cleveland Museum of Art, A Treatise on the Marvelous for Prestigious Museums cons