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Prosthesis
Prosthesis is an experiment in critical writing that both analyzes and performs certain questions about the body as an "artificial" construction. The book deals with the mechanical (e.g., a mechanical prosthesis like a father's artificial leg) in that most humanistic of discourses, the artistic - in order to demonstrate to what extent a supposedly natural creation relies on artificial devices of various kinds. It is distinguished from a thematics of the prosthetic in literature by its complex articulation with accounts of the amputee father's discomfort, slipping back and forth between an apparently constative and a more obviously performative mode, in and out of fiction and autobiography. Cutting across the terrains occupied traditionally by the history of medicine, film studies, art history, philosophy, psychoanalysis, literary theory, and fiction, it finds an artistic or cultural pretext for each of its expositions - a line from Virgil, a painting by Conder, a theory by Freud, a film by Greenaway, a text by Derrida, novels by Roussel or Gibson, a sixteenth-century rhetoric - that connects thematically or theoretically with the question of prosthesis.
Switched On
An overview of the era and showcases the It girls and designers who defined the decade, with lavishly illustrated profiles of Jane Birkin, Jean Shrimpton, Catherine Deneuve, Mary Quant, Sharon Tate, and many more.Sixties counter-culture led to a revolution in fashion so profound that its contemporary influence remains unparalleled. For the first time in history women dominated the zeitgeist; never before has this monumental time in fashion been so richly documented. Switched On provides an overview of the era and showcases the 'It girls' and designers who defined the decade.250 iconic photos are accompanied by lavishly illustrated profiles of Jane Birkin, Jean Shrimpton, Catherine Deneuve, Mary Quant, Sharon Tate, Twiggy, and many more.Contributing photographers include Bert Stern, Milton Greene, Horst P. Horst, Terry O'Neill, Franco Rubartelli, David Hurn, Pierluigi Praturlon, Gianni Penati, Bud Fraker, David Montgomery, Patrick Lichfield, Henry Clarke, Arnaud de Rosnay, Slim Aarons, Arthur Evans, Jean-Marie Perier, Mark Shaw.
Hollywood in Kodachrome
Hollywood in Kodachrome by David Wills has descriptive copy which is not yet available from the Publisher.
Seventies Glamour
Glamour and grotesquerie; disco and punk; high fashion and low-life passion: the most conflicted and controversial decade in pop culture history blazes back to life in a gloriously decadent collection of images from the runway and the silver screen, the concert stage and the nightclub dance floor. The 1970s was an era when the glitter of old Hollywood was eclipsed by a gritty new sensibility—a time when legends like Elizabeth Taylor and Liza Minnelli mixed with rising stars from the worlds of punk rock, underground film, fashion, and art. Cutting the deck of glamour with a heady dose of hedonism, sex and violence, the stars of the Seventies—including David Bowie, Debbie Harry, Candy Darl...
Audrey: The 60s
Audrey Hepburn, 60s icon. Audrey Hepburn charmed audiences in the 1950s as a new type of cinema personality—gamine, doe-eyed, and refreshingly casual. By the 1960s she had transformed into a trendsetting sophisticate and achieved unrivaled careers as an actress, model, movie star, and champion for underprivileged children worldwide. Curator and photographic preservationist David Wills has amassed one of the world's largest private collections of original Audrey Hepburn photographs. Now, in Audrey: The 60s, he has gathered spectacular museum-quality work from her key photographers—Richard Avedon, Bert Stern, Cecil Beaton, Douglas Kirkland, William Klein, Terry O'Neill, Howell Conant, Bob ...
Dorsality
In this highly original book David Wills rethinks not only our nature before all technology but also what we understand to be technology. Rather than considering the human being as something natural that then develops technology, Wills argues, we should instead imagine an originary imbrication of nature and machine that begins with a dorsal turn-a turn that takes place behind our back, outside our field of vision. With subtle and insightful readings, Wills pursues this sense of what lies behind our idea of the human by rescuing Heidegger’s thinking from a reductionist dismissal of technology, examining different angles on Lvinas’s face-to-face relation, and tracing a politics of friendsh...
Vegas Gold
An evocative, glamorous look at the golden years of Las Vegas, captured in more than 125 lush color and black-and-white photographs. "I love that town. No clocks. No locks. No restrictions."--Marlene Dietrich The playground in the desert built by the mob and transformed by Howard Hughes, the "fabulous, extraordinary madhouse," that is Las Vegas, Nevada, has long been regarded as the Entertainment Capital of the World. During the post-war boom years, no place was as fascinating as Vegas. Distinguished by millions of colorful neon lights, the sounds of rhumba music, and the clink of silver dollars, Vegas was a recreational colony for Hollywood's most glamorous and a dream destination for thous...
Matchbook
Matchbook consists of nine essays written around, or in response to, work published by Jacques Derrida since 1980. The focal point of the essays is the "Envois," which forms part of Derrida's Post Card. Particular attention is paid to how that text articulates with the ethical and political emphases of Derrida's more recent work, but also to its autobiographical conceit. The "incendiary" reference of the book's title underscores deconstruction's engagement with questions of reading: relations between (slow) reading and the speed of technology, and the political effects of an internationalized deconstruction in a globalized culture. It is in terms of what deconstruction can have us think about the speed of technology and technologies of reading that Derrida's work has made one of its most important contributions to philosophy and literary and cultural studies. The book concentrates on that as proof of the continued relevance of such work.
The Diary of an Idiot
Marco is a bitter and frustrated loner, convinced of his untapped potential. He begins to document what he hopes will be looked on in later years as the memoirs of a self conquering, meteoric rise to unspecified fame and renown. However, through an act of immediate redemption, he comes to be involved with the distressing life of an elderly man from his estate. These unfortunate circumstances are contrasted by the beginning of a relationship, which had brought a new lease of happiness into his usual dreary existence. As events unfold, Marco tries to keep both situations from disaster.
Killing Times
Killing Times begins with the deceptively simple observation—made by Jacques Derrida in his seminars on the topic—that the death penalty mechanically interrupts mortal time by preempting the typical mortal experience of not knowing at what precise moment we will die. Through a broader examination of what constitutes mortal temporality, David Wills proposes that the so-called machinery of death summoned by the death penalty works by exploiting, or perverting, the machinery of time that is already attached to human existence. Time, Wills argues, functions for us in general as a prosthetic technology, but the application of the death penalty represents a new level of prosthetic intervention...
