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In this accessible collection, leading academic economists, psychologists and philosophers apply behavioural economic findings to practical policy concerns.
Violence, calamity and the absurdity of war are recorded extensively within The Archive of Modern Conflict, the largest photographic collection of its kind in the world. For their most recent work, Holy Bible, Adam Broomberg and Oliver Chanarin mined this archive with philosopher Adi Ophir's central tenet in mind: that God reveals himself predominantly through catastrophe and that power structures within the Bible correlate with those within modern systems of governance. - The format of Broomberg and Chanarin's illustrated Holy Bible mimics both the precise structure and the physical form of the King James Version. By allowing elements of the original text to guide their image selection, the artists explore themes of authorship, and the unspoken criteria used to determine acceptable evidence of conflict. - Inspired in part by the annotations and images Bertolt Brecht added to his own personal bible, Broomberg and Chanarin's publication questions the clichés at play within the visual representation of conflict.
The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised. What is significant about this camera is that it is designed to make portraits without the co-operation of the subject; four lenses operating in tandem to generate a full frontal image of the face, ostensibly looking directly into the camera, even if the subject himself is unawa...
An accessible introduction to how behavioural economics is used to influence and inform developments in public policy.
Every day, Oliver goes to the shops and every day Troll tries to eat him. But Troll finds catching an Oliver is very tricky - he's too fast, too sneaky and too plain clever! It is only when it looks like Troll has given up and Oliver celebrates winning that¿ CHOMP! He gets eaten! Unfortunately for Troll, but fortunately for olivers everywhere, olivers don't taste very nice. So he spits him out and discovers that this Oliver is an excellent baker - and ALL trolls love cakes!
Many millennia after the fall of Eden, Adam, the first man in creation, still walks the Earth – exhausted by the endless death and destruction, he is a shadow of his former hope and glory. And he is not the only one. The Garden was deconstructed, its pieces scattered across the world and its inhabitants condemned to live out immortal lives, hiding in plain sight from generations of mankind. But now pieces of the Garden are turning up on the Earth. After centuries of loneliness, Adam, haunted by the golden time at the beginning of Creation, is determined to save the pieces of his long lost home. With the help of enlisting Eden's undying exiles, he must stop Eden becoming the plaything of mankind. Adam journeys across America and the British Isles with Magpie, Owl, and other animals, gathering the scattered pieces of Paradise. As the country floods once more, Adam must risk it all to rescue his friends and his home – because rescuing rebuilding the Garden might be the key to rebuilding his life.
Foreword by Gordon McDonald. Text by Julian Stallabrass.
This is a journey through 12 modern ghettos, starting in a refugee camp in Tanzania and ending in a forest in Patagonia. In each of these places, Adam Broomberg and Oliver Chanarin, as editors and photographers of Colors magazine, methodically documented their inhabitants, and asked them the saine questions : How did you get here ? Who is in power ? Where do you go to be alone ? To make love ? To get your teeth fixed ? For many of those photographed it was their first time in front of a camera. Some looked into it with a Nard, penetrating gaze. Others obeyed the rituel of photography with smiles. And Mario, on the cover, turned his back on the camera and waited for the shutter to click.
A terrifying series of short poems by one of the world’s leading playwrights, set to images of World War II In this singular book written during World War Two, Bertolt Brecht presents a devastating visual and lyrical attack on war under modern capitalism. He takes photographs from newspapers and popular magazines, and adds short lapidary verses to each in a unique attempt to understand the truth of war using mass media. Pictures of catastrophic bombings, propaganda portraits of leading Nazis, scenes of unbearable tragedy on the battlefield — all these images contribute to an anthology of horror, from which Brecht’s perceptions are distilled in poems that are razor-sharp, angry and direct. The result is an outstanding literary memorial to World War Two and one of the most spontaneous, revealing and moving of Brecht’s works.
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