Sunday, April 19, 2020
Latin American / Brazilian Urban Studies & Late 20th Century Urban Studies from San Diego State University Press
Modernism, Brazil-style! A Latin American cultural critique classic from SDSU Press--now on sale at our Amazon outlet mall: https://amzn.to/2KJuPXf
With TWO-WAY STREET: THE PAULISTA AVENUE, FLUX AND COUNTER-FLUX OF MODERNITY, Marta Bogéa presents São Paulo's Paulista Avenue from "the other side of the street." Bogéa offers a semiotic analysis of the richly varied architectural styles of this major Latin American urban space. In this work urban studies and cultural studies fuse--urban space is seen as a coded form of communications network that emerges via careful critical examination.
Think Barthes meets Brazil, and you begin to parse Bogéas achievement in this study.
By considering apparent contradictions between the official hegemonic discourse of unified styles, and and what abuts and abrades them from the surrounding, unpredictable urban fabric, the author demonstrates the interventionist and utopian role of criticism. Separate chapters cover the period from the great mansions through modernism and the International Style as it appeared (and evolved) in São Paulo. For scholars and graduate students of urban studies, modernism, and cultural criticism in a Latin American context, this is a must-have critical resource.
Saturday, April 18, 2020
Friday, April 17, 2020
Thursday, April 16, 2020
Latin American visual poetry!? Check! Kumeyaay Literature? Check! SciFi Movies and Drone/Surveillance Culture? Check!
Latin American visual poetry!? check: https://t.co/FgdS15yQwa
— San Diego State University Press (@SDSUPress) April 16, 2020
Kumeyaay Literature? check: https://t.co/UUY922pRZV
SciFi Movies and Drone/Surveillance Culture? check: https://t.co/hb7Nf13Y3J
3 recent titles from @SDSUPress #sdsupress and #hyperbolebooks https://t.co/gQDg5GvAUC pic.twitter.com/y9LFPesZda
Even in the Age of the Virus, SDSU Press, Hyperbole Books, and Amatl Comix are on the Move!
#sdsupress #hyperbolebooks #amatlcomix on the move! #covid19 be damned!https://t.co/TwyUljl4jphttps://t.co/gQDg5GvAUChttps://t.co/F2bvqZ47NW pic.twitter.com/NtVISop7dP
— San Diego State University Press (@SDSUPress) April 16, 2020
Tuesday, April 14, 2020
A San Diego State University Press Avant-Garde Studies Classic by Owen F. Smith! Fluxus: The History of an Attitude #sdsupress
Fluxus: The History of an Attitude
SDSU Press
Check it Out Here!
Fluxus was once called 'the most radical and experimental art movement of the sixties,' but for anyone seeking to learn more about the historical nature of Fluxus and its conceptual framework it might more readily seem to be just plain frustrating rather than radical. This is in part the case because Fluxus is historically complex and philosophically difficult to define. FLUXUS: THE HISTORY OF AN ATTITUDE by Owen F. Smith is a HOT mix of dada, fluxus, art theory and art history. Owen F. Smith's exhaustive archival research tracks the physical remains of this fascinating interdisciplinary and international arts movement that began in the 1960s.
Dr. Owen F. Smith is the Director of the Intermedia MFA Program at the
University of Maine. He received his BA in Art History and Russian
Studies, his MA in Anthropology and his PhD in Art History from the
University of Washington in Seattle. He is a specialist in Modern and
Contemporary art, particularly what he calls Alternative Art Forms. He
has lectured widely in the US and Europe on art in the 20th Century. His
seminal book on the history of fluxus, Fluxus: The History of an Attitude, is published by us! San Diego State University Press.
This
book is a "must read" for the serious student of Fluxus. Owen Smith
covers the difficult-to-define Fluxus movement with aplomb in this
volume. Smith's effort has resulted in a work that gives a clear and
mostly complimentary illumination to Fluxus without any overt biases or
"axes to grind". Smith's definition of Fluxus as an attitude, and
his elaboration of that attitude within its pages, seems to be close to
the perfect description of what Fluxus was and is. Find out more and get your copy here.
David Ornelas is a graduate student in the Masters of Arts in Liberal Arts and Sciences cultural/interdisciplinary studies program at San Diego State University. His passion for reading books led to his work here with SDSU Press.
Friday, April 10, 2020
Thanks For Your Patronage of San Diego State University Press, Hyperbole Books, Amatl Comix, pacificREVIEW, and Poetry International!
Take this time #athome to pick up an #sdsupress book! We appreciate all of you who are supporting the press during this time ✨ check it out —> https://t.co/Mo5eau0KgQ pic.twitter.com/TQRJANW0xC
— San Diego State University Press (@SDSUPress) April 10, 2020
Monday, April 06, 2020
With All the Great Reviews of Fanny Daubigny's PROUST IN BLACK Rolling In, Isn't it Time You Got a Copy of Your Own!?
Glossy Full Color Limited Edition | Regular Full Color Edition
#proust #proustinblack #marcelproust @goodreads #review @SDSUPress @Daily_Proust @_Marcel_Proust_ pic.twitter.com/zLeh7dyBYW— Fanny Daubigny (@DaubignyFanny) April 6, 2020
From San Diego State University Press -- Clichetes by Philadelpho Menezes #sdsupress
SDSU Press
Poetics and Visuality: A trajectory of contemporary Brazilian poetry
--> Check it out here! <--
Description
Philadelpho Menezes's Poetics & Visuality offers an account of the
development of extreme poetic practices in a country known for its
commitment to experimentation. This richly illustrated history begins
with spatialism, to which concretism comes as a corrective ordering in
the early 1950s. The "visual poetry" of the last decades is cogently
theorized as inter sign poetry (collage, package, montage poetries), a
movement that has drawn international attention.wikiBIO
wikiBIO: Philadelpho Menezes (born in 1960 in São Paulo, Brazil, died,
2000, Brazil, in a car accident). Brazilian poet, visual poet, pioneer
of new media poetry, professor in the Communication and Semiology
post-graduation program at the Pontifical University of São Paulo. He
performed research for his post-graduate degree at the University of
Bologna, in Italy (1990). With Brazilian artist Wilton Azevedo
Philadepho Menezes created a pioneer intermedia-poetry CD-ROM:
"InterPoesia. Poesia Hipermidia Interativa" (1998). In Italy he
collaborated with the first net-poetry project: Karenina.it, by Italian
artist Caterina Davinio.Information from within
The goal of this study is to furnish a theoretical framework for reflections on the pathways taken by experimental poetry in Brazil. At the same time, I hope to suggest that these increasingly intricate formulations might map out their own zone, thereby allowing the method herein elaborated to be applied to other kinds of cultural experimentation. The reader of poetry today all too frequently is confused by a body of material that seems to be little more than a collection of formal exercises that take their origins ex nihilo. I will try to undo this error by showing the inverse: in the apparent chaos of avant-garde Brazilian poetry, there is a backbone that structures a trajectory in the direction of an incorporation of visuality in the poem, a depositing of the poetic function in the visual image.
David Ornelas is a graduate student in the Masters of Arts in Liberal Arts and Sciences cultural/interdisciplinary studies program at San Diego State University. His passion for reading books led to his work here with SDSU Press.
Friday, April 03, 2020
An Interview with Dr. Alvaro Huerta: Reframing the Latino Immigration Debate: Towards a Humanistic Paradigm, San Diego State University Press
Dr. Alvaro Huerta authored the newest title to our SDSU Press collection, Reframing the Latino Immigration Debate: Toward a Humanistic Paradigm. Dr. Huerta holds a B.A. (history) and M.A. (urban planning) from UCLA. Also, he holds a Ph.D. (city and regional planning) from UC Berkeley. He is currently conducting interdisciplinary work in the UCLA Chicano Chicana Studies program for top scholarly journals through the studies of urban planning / community development, civic engagement / community organizing, immigration, Chicana/o--Latina/o studies / history, social network analysis; the informal economy. This interview took place over email on the anniversary of the "Chicano Moratorium," August 29, and was preceded by a phone interview.
When did you start writing? Why?
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| Photograph by Antonio Turok, click to enlarge |
If you want to learn more about Dr. Alvaro Huerta and his work visit his site:
https://sites.google.com/site/alvarohuertasite/home
Thursday, April 02, 2020
Naief Yehya's DRONE VISIONS! On Sale Now! Cutting Edge Cultural Studies Focused on Surveillance, Drone Culture, and Remote Control Death and Destruction in Science Fiction Cinema
Who knows what developments in drone technology are taking place as we attend to our day to day pandemic panic!? @nyehya, Naief Yehya does! Check out his new book DRONE VISIONS Direct book purchase link: https://t.co/9Wnl5nqOqF@nyehya interview https://t.co/cRjgLi8SzF pic.twitter.com/EW1RXfFage
— San Diego State University Press (@SDSUPress) April 2, 2020
Sunday, March 29, 2020
A New Book From Hyperbole Books, An SDSU Press Imprint: Naief Yehya Interview on Drone Visions: A Brief Cyberpunk History of Killing Machines
Kaylee Arca
In celebration of Naief Yehya's new book Drone Visions: A Brief Cyberpunk History of Killing Machines, Kaylee Arca interviewed Yehya on cyberpunk, technology and inspiration. Buy a copy here.
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| click to enlarge |
Naief Yehya: When cyberpunk appeared, it was perceived as an anarchic and liberating force. It was a mix of the technological and the biological, energized by the rebel spirit of punk music, a universe of hybrid beings capable of throwing the world off balance. It was an appropriation of technology by “the street,” imagined as an empowering strategy that consisted in taking technological tools from corporations and governments, improving them, using them for the common good and empowering the imagination. But eventually the trend was inverted and what had been retrofitted and redesigned to be used by the people was retaken and recycled by industry and the military. This applies mostly to software, but it happened all over the technological landscape. I believe that movies and other popular culture artifacts that belonged to that subgenre of science fiction became very relevant in the way we adopted new technologies. Cyberpunk made high tech sexy and brought it to the masses. Suddenly we were surrounded by innovative communication devices, cyborgs, computers, screens everywhere and all kinds of gadgets but also by weapons and killing machines capable, at least in theory, of choosing their targets.
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| Drone Visions' back cover: Click to enlarge |
NY: I became really interested in missiles and this kind of weaponry during the first Gulf War. Especially, I found myself concerned and terrified by the missile-camera that the USA used against certain targets in Iraq. It was in part a propaganda campaign to prove the smartness of its bombs. These devices turned the war into a spectacle, entertainment pretending to be information. The idea of being able to see the path of the missile all the way to the point of impact and witness, in a flash, the destruction of the lenses, thecamera, the bomb and the building was a reminder of the pornographic image syntax:the obsession of showing the unshowable, a penetrating gaze that tries to reveal more and more, and of the money shot, the external sperm shot that validates the porn narrative.The war drone takes this logic a step further by becoming, in the imagination of politicians and military strategist, an all-seeing eye, an indefatigable, persistent, patient, Never-blinking spying device and precise enforcer. The use of this machine in the theatre of war has been portrayed as prodigious, infallible and a lifesaving resource for the military in a series of never-ending wars. I’m terrified and fascinated by these deadly machines and the way they have been normalized, standardized and accepted as the humanitarian option in war.
KA: Do you have experience with the weapons you discuss?
NY: No, just from my research. I don’t like weapons. I like studying them and their psychological, cultural, moral, economic, political impact.
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| Page spread from Drone Visions--more below, all are large/high res clickable images |
Enormously. Since I discovered cyberpunk, my work shifted permanently. I received a degree in industrial engineering and have always been fascinated by machinery. So,when I found out that you could actually write about technology and think about The implications of our relationship to gadgets and machines, particularly intelligent machines,I knew I had found my calling. Since then, I have written about cyborgs, pornography, war, the internet and the media sphere from the point of view of how we engage with the technologies that made those phenomena possible. During the 90s these topics were considered unworthy by most of my colleagues, there were not literary enough, too niche and morbid. But now we live in a highly technological time and, in one way or another, we’re all immersed in a techno culture.
KA: How did you choose Mad Max, Alien, Blade Runner and The Terminator to examine?
I believe that those films are the canon of cyberpunk. Besides being extraordinary films that were ahead of their time, they were viewed as genre entertainment when in fact they were fascinating masterpieces that spoke about the human condition at a time of fundamental transition. Just like John Ford's westerns showed the transformation of society in a new world when the wild west “opened,” these movies reflected on the inevitable changes to the Human condition at a time when technology was redefining the boundaries of the biological and the mechanical, the evolved and the manufactured, and the appearance of cyberspace. All these films —which started before the massification of the internet, cell phones and the digitization of everything— have sequels, some even have prequels and reboots, and I believe these serials have been amazing at keeping track of the changes that our technologies and dreams of technology have brought. I try to prove in the book that even the lesser products from these franchises and films derived from them are revealing in many ways.
KA: How is Drone Visions different from your other published works?
The main difference is that Drone Visions was going to be a part of another book thatI have almost finished and which is a more straightforward history of the war drone.The part of that book devoted to the cultural history of the drone became too voluminous and eventually it became evident that it was a book in itself which gave birth to Drone Visions as an independent project. Technology changes quickly and continuously, making the research and writing process very challenging. And it was difficult to have access to military sources.
KA: What was your writing process for Drone Visions?
It took me a long time. I have written extensively about the cyberpunk canon. I wanted to write about how the technological dystopias in these films merged and the way that these ideas have entered the mainstream. I was particularly interested in understanding how some ideas in these films became part of our techno cultural zeitgeist, the most relevant one of those ideas being the notion of the killing robot or artificial intelligence playing the role of executioner.
KA: Do you think films and video games will continue to change future war technologies?
Definitely. In ways that we cannot even fathom at this time. It’s clear that drone Technology was heavily influenced by video games and films. Now they are unavoidably linked and, as the nature of digital entertainment evolves, its military counterpart will do the same.
KA: Do you think technology has created a cultural desensitization to violence? What is technology's role in desensitization?
Yes, in general, I think that is true. Digital entertainment has made violence extremely appealing, interactive and fun. The abundance of cameras makes it possible for everything to be recorded and eventually broadcasted, the beautiful and the atrocious alike. Special effects and imaging technologies allow for the creation of almost anything imaginable. We have been over exposed to all sorts of violence, brutality and extreme practices in every domain. There are very few things that can shock us now for a prolonged period. Nevertheless, there is a constant search for new technological thrills, it’s part of our nature and the way we are wired. The military drone offers a very special paradigm, by showing scenes happening in real time on the other side of the world as if they were right in front of the viewer. At the same time, these scenes could be imagined as unreal, scenarios of a video game. The viewer can perceive these human beings as playthings to be eliminated in some perverse game. At the same time, drone pilots and operators, in a way, become intimate with the people they spy on, following them for days or weeks, becoming familiar with their world, their everyday lives and, eventually, may receive the order to blow them to pieces. So, in a way, we are becoming more desensitized to violence but also our relationship with what we see on the screen is complex and unpredictable. By turning human hunting into a regular, daily nine to five job, made possible by this peculiar way of telecommuting to war zones and to “suspect hunting grounds” in peace zones, we are creating an unprecedented dilemma. Killing by remote viewing and digital representations is without any doubt one of the most extreme and desensitizing activities we can perform.
KA: What do you think are the most impactful changes on technologies caused by films and video games?
Just as many aesthetic choices in films like 2001: A Space Odysseyinfluenced space programs, and design in a great number of areas. Blade Runner and the rest of the sci-fi films I’ve written about have been a major influence in the minds of programmers, engineers, artists and designers who have created most of the gadgets that are part of our lives today. Nobody really imagined 30 years ago that everyone was going to have a powerful portable computer and an amazing communication and entertainment device in their pocket, or that we would become inseparable to our gadgets. It would be hard to find specific movies or games that were responsible for those huge changes in the way we use and relate to technologies. Killing human beings with joysticks is still a morbid irony difficult to accept.
Advance word on Naief Yehya's Drone Visions:
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