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Away from the spotlight of the pop charts and the demands of mainstream audiences, original music is still being played and audiences continue to engage with innovative artists. This collection of fresh essays gathers together critical writing on such genres as Power Electronics, Black Metal, Neo-Folk, Martial Industrial, Hard-Core Punk and Horrorcore. The contributors report from the periphery of the music world, seeking to understand these new genres, how fans connect with artists and how artists engage with their audiences. Diverse music scenes are covered, from small-town New Zealand to Washington, D.C., and Ljubljana, Slovenia. Artists discussed include Coil, Laibach, Whitehouse, Insane Clown Posse, Wolves in the Throne Room, Turisas, Tyr, GG Allin and many others.
The invasion of Ukraine is the latest in a series of upheavals that have made eastern Europe a telling point from which to consider the place of area studies in the construction of knowledge about the world. The politics of academic knowledge about ‘areas’ now feels more urgent than ever. Anti-Atlas plays with the politics of the conventional atlas, with its assumptions about knowledge and power, its hierarchies of value, and its simplifications. It presents a collection of essays written by an eclectic mix of authors from Europe, both east and west, the UK and North America. These entries analyse a necessarily incomplete selection of topics, but they all engage with the question of how ...
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Spanning the years 1992 to 2002 this heavily illustrated monograph represents an up-to-date survey of the work of Gillian Wearing, winner of the 1997 Turner Prize.
... Des arbres et des clôtures, nids, et la chasse en Alaska. Ces Photographies nous montrent une forte sensibilisation écologique et la sensibilité de l'artiste. ŒLa première série affiche des arbres plantés dans un environnement urbain, entouré par des clôtures. ŒŒLe deuxième cycle nous permet d'observer des nids et des animaux tués par les chasseurs en Alaska, une image courante dans cette région. Ces images rappellent la tradition européenne de la peinture des animaux morts, tout en faisant partie du contexte de la vie des chasseurs.
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