Podcasts about alancaisez

On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. Dazed soldiers and worried citizens could only watch as the flames engulfed the museum's castle. Rare objects and valuable paintings were destroyed. The flames at the Smithsonian were not the first—and certainly would not be the last— disaster to upend a museum in the United States. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process. The Museum explores the concepts of the multiple “crises” of the museums, and these historic institutions attempts to dealt with challenges ranging from depression and war to pandemic and philosophical uncertainty.  Samuel J. Redman speaks to Pierre d'Alancaisez about the fires, floods, wars, and existential crises that have redefined what museums do and how they think of themselves and their public, asking challenging questions about American cultural life. Not deterred by these institutions' tendency to forgot their even recent past, Redman argues that cultural institutions can, and should, use their history to construe their future identity. Samuel J. Redman is Associate Professor in the Department of History at the University of Massachusetts Amherst and the author of Bone Rooms: From Scientific Racism to Human Prehistory in Museums and Prophets and Ghosts: The Story of Salvage Anthropology. ************* The MuseumA Short History of Crisis and Resilience Samuel J. Redman Published by NYU Press, 2022ISBN 9781479809332 ************* Find many more interviews, projects, and my writing at ⁠⁠⁠https://petitpoi.net/⁠⁠⁠ You can sign up for my newsletter at ⁠⁠⁠https://petitpoi.net/newsletter/⁠⁠⁠ Support my work: ⁠⁠⁠https://petitpoi.net/support/

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot  and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. ************* Curating FascismExhibitions and Memory from the Fall of Mussolini to TodayEdited by Sharon Hecker and Raffaele Bedarida Published by Bloomsbury, 2022ISBN 9781350229457 ************* Find many more interviews, projects, and my writing at ⁠⁠https://petitpoi.net/⁠⁠ You can sign up for my newsletter at ⁠⁠https://petitpoi.net/newsletter/⁠⁠ Support my work: ⁠⁠https://petitpoi.net/support/

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/israel-studies

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

In 2013, Egyptian authorities detained a migratory stork for espionage. This incident is the focus of Heba Y. Amin’s The General’s Stork, an ongoing project that investigates the politics of aerial surveillance. It is also the subject of the most recent book in the Research/Practice edited by Anthony Downey. Research/Practice focuses on artistic research and how it contributes to the formation of experimental knowledge systems. Drawing on preliminary material such as diaries, notebooks, audiovisual content, digital and social media, informal communications, and abandoned drafts, the series examines the interdisciplinary research methods that artists employ in their practices. In their often speculative and yet purposeful approach to generating research, what forms of knowledge do artists produce? Anthony Downey, editor of The General's Stork (Sternberg Press, 2020) speaks with Pierre d'Alancaisez about the work of Heba Y. Amin and her exhibition at the Mosaic Rooms, London, which he curated and the epistemic implications of cartographic imaging and computer vision for our understanding and command of territories. Downey also discusses I'm Good at Love, I'm Good at Hate, It's in Between I Freeze, a volume in the series that follows the artist Michael Rakowitz as he attempts to restage a concert by the singer Leonard Cohen that never took place in the occupied Palestinian territory. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Working Aesthetics: Labour, Art and Capitalism (Bloomsbury Academic, 2019) is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks. With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today. Danielle Child speaks with Pierre d'Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs. The opening street scene by Eyre Crowe is here. Dannielle Child is a senior lecturer at Manchester School of Art. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Working Aesthetics: Labour, Art and Capitalism (Bloomsbury Academic, 2019) is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks. With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today. Danielle Child speaks with Pierre d'Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs. The opening street scene by Eyre Crowe is here. Dannielle Child is a senior lecturer at Manchester School of Art. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Working Aesthetics: Labour, Art and Capitalism (Bloomsbury Academic, 2019) is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks. With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today. Danielle Child speaks with Pierre d'Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs. The opening street scene by Eyre Crowe is here. Dannielle Child is a senior lecturer at Manchester School of Art. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Working Aesthetics: Labour, Art and Capitalism (Bloomsbury Academic, 2019) is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks. With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today. Danielle Child speaks with Pierre d'Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs. The opening street scene by Eyre Crowe is here. Dannielle Child is a senior lecturer at Manchester School of Art. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Working Aesthetics: Labour, Art and Capitalism (Bloomsbury Academic, 2019) is the story of art and work under contemporary capitalism. Whilst labour used to be regarded as an unattractive subject for art, the proximity of work to everyday life has subsequently narrowed the gap between work and art. The artist is no longer considered apart from the economic but is heralded as an example of how to work in neoliberal management textbooks. With the narrowing of work and art visible in galleries and art discourse today, Working Aesthetics takes a step back to ask why labour has become a valid subject for contemporary art and explores what this means for aesthetic culture today. Danielle Child speaks with Pierre d'Alancaisez about the rise of the art fabricator embodied by the stories of Lippincott, Inc. and Mike Smith Studio, dematerialised labour of Rimini Protokoll, and the digital afterlives of etoy and the brave new world of NFTs. The opening street scene by Eyre Crowe is here. Dannielle Child is a senior lecturer at Manchester School of Art. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. They were also a subject of a study by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. They were also a subject of a study by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. They were also a subject of a study by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. They were also a subject of a study by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. The cockroaches’ journey into space also inspired a short story It by Rolf Hughes, which was published by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Art of Experiment: Post-Pandemic Knowledge Practices for 21st-Century Architecture and Design (Routledge, 2020) is a handbook for navigating our troubled and precarious times. In search of new knowledge practices that can help us make the world livable again, this book takes the reader on a journey across time—from the deep past to the unfolding future. Hughes and Armstrong search beyond human knowledge to establish negotiated partnerships with forms of knowledge within the planet itself, examining how we have manipulated these historically through an anthropocentric focus. Rachel Armstrong and Rolf Hughes speak with Pierre d'Alancaisez about their approach to knowledge-making and organa paradoxa as an apparatus for incorporating the unexpected into research and practices. They also talk about sending cockroaches into space, living Shakespearean bricks, and about the value of experimentation in establishing productive cross-disciplinary collaborations. Some of the works discussed in the interview are described and illustrated in a Nature article. Caustic Ophelia from Brick Dialogues is on Bandcamp. The Hanging Gardens of Medusa can be seen here. They were also a subject of a study by the British Interplanetary Society. Hughes' and Armstrong's earlier collaboration with Espen Gangvik The Handbook of the Unknowable is available in full here. Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

During the middle decades of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the United States. Every day tens of thousands of writers, editors, artists, performers, technicians, and secretaries made advertisements, produced media content, and designed the shape and feel of the consumer economy. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labours. Shannan Clark. author of The Making of the American Creative Class: New York's Culture Workers and 20th-Century Consumer Capitalism (Oxford UP, 2020), speaks with Pierre d’Alancaisez about the origins of the creative class, their labour union struggles and successes, the role of the Works Projects Administration, and institutions like the Design Laboratory and Consumer Union which foretell the experiences of today’s culture workers. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

During the middle decades of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the United States. Every day tens of thousands of writers, editors, artists, performers, technicians, and secretaries made advertisements, produced media content, and designed the shape and feel of the consumer economy. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labours. Shannan Clark. author of The Making of the American Creative Class: New York's Culture Workers and 20th-Century Consumer Capitalism (Oxford UP, 2020), speaks with Pierre d’Alancaisez about the origins of the creative class, their labour union struggles and successes, the role of the Works Projects Administration, and institutions like the Design Laboratory and Consumer Union which foretell the experiences of today’s culture workers. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

During the middle decades of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the United States. Every day tens of thousands of writers, editors, artists, performers, technicians, and secretaries made advertisements, produced media content, and designed the shape and feel of the consumer economy. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labours. Shannan Clark. author of The Making of the American Creative Class: New York's Culture Workers and 20th-Century Consumer Capitalism (Oxford UP, 2020), speaks with Pierre d’Alancaisez about the origins of the creative class, their labour union struggles and successes, the role of the Works Projects Administration, and institutions like the Design Laboratory and Consumer Union which foretell the experiences of today’s culture workers. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

During the middle decades of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the United States. Every day tens of thousands of writers, editors, artists, performers, technicians, and secretaries made advertisements, produced media content, and designed the shape and feel of the consumer economy. While this centre of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labours. Shannan Clark. author of The Making of the American Creative Class: New York's Culture Workers and 20th-Century Consumer Capitalism (Oxford UP, 2020), speaks with Pierre d’Alancaisez about the origins of the creative class, their labour union struggles and successes, the role of the Works Projects Administration, and institutions like the Design Laboratory and Consumer Union which foretell the experiences of today’s culture workers. Pierre d’Alancaisez is a contemprary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music