DOCSLIB.ORG

Communicative Semiotics in Everyday Life (Cultural Criticism – the Image in the 21St Century)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Communicative Semiotics in Everyday Life (Cultural Criticism – the Image in the 21St Century) Communicative Semiotics in Everyday Life (Cultural Criticism – the image in the 21st century) A thesis submitted for the degree of Doctor of Philosophy in English School of Arts Brunel University June 2014 DALEL FIDOUH This thesis is dedicated with the deepest love and everlasting respect to my parents. ii Abstract What am I seeing? What does it mean? This thesis addresses the transformations in cultural life in the 21st century due to the cultural dominance of the image, which resulted from the radical change and enormous progress in the media, communication and the development of information systems in the world. All this has led to changes in the intellectual structure, and an increased tendency to drift in all areas, and the emergence of a society and a culture governed by the culture of shock. The fundamental issue concerning the image is an epistemological issue, as we cannot distinguish between the visual image and the semantic product. We live in a world surrounded with stunning and spectacular visual images. We are overloaded with images from all types in our everyday life. We probably see images more than we read words. This thesis provides an analytical framework for understanding how images produce meanings using the semiotic approach. Semiotics is the most important approach that can be used to analyze all types of images. Semiotic analysis addresses images as signs which communicate meaning. The symbols used in signs are often culturally specific. This thesis indicates the focus of the receiver to adapt to this visual cultural situation, to be able to grasp the content of the new cultural discourse as it is present in all the details of the receiver’s daily life. There have been a number of questions that pushed me to accomplish this research, including: what are the elements of the culture of the image? What is its impact on the mental perception and production of semantic meaning? What is its reflection on the nature of social networking in general? The thesis discussed all of these issues. iii Acknowledgment Undertaking this PhD has been a truly life-changing experience for me and it would not have been possible without the support and guidance that I received from many people. I would like to thank my supervisor Dr. Nick Hubble for all his support, encouragement and excellent guidance. I would like to express my appreciation to my second supervisor Prof. Philip Tew, who provided valuable support to my research. Additional thanks go to Dr. Claire Lynch and Dr. Anshuman Mondal. I thank my father, Prof. Abdelkader Fidouh who cultivated my interest in research since I was young, along with my mother Malika, for their faith in me and allowing me to be as ambitious as I wanted, for their unconditional support. My sister Prof. Yasmina Fidouh, who always had faith in me, thank you for everything. My brothers, Habib and Amine, thank you for your support and encouragement. Last but not least, I am deeply grateful to Mouloud, for his unwavering love and support. iv Table of Contents Abstract ................................................................................................................................ ii Acknowledgment ................................................................................................................. iii Table of Contents ................................................................................................................. iv Table of Figures ................................................................................................................... vi Note on texts used ................................................................................................................ ix Introduction......................................................................................................................... 1 Chapter 1: The image and the production of meaning ...................................................... 8 1.1 Communicative response to the meaning of the language of art .............................. 8 1.2 Visual discourse ................................................................................................... 21 Chapter 2: Iconographic Image ........................................................................................ 34 2.1 Public Art ............................................................................................................. 34 2.1.1 Language of Photography - Barbara Kruger ................................................ 37 2.1.2 The violence of the image ........................................................................... 39 2.2 The ideology of images ........................................................................................ 61 2.2.1 The image lies ............................................................................................ 61 2.2.2 Photography and the connotative meaning .................................................. 70 2.3 The culture of access ............................................................................................ 76 2.3.1 The advertising discourse ........................................................................... 76 2.3.2 Advertising as a culture of shock ................................................................ 88 2.3.3 Culture of stimuli access ............................................................................. 96 Chapter 3: Street Art ...................................................................................................... 107 3.1 Street blackboard ................................................................................................ 107 3.2 The wall as a shelter of rebels ............................................................................. 120 3.2.1 The open space ......................................................................................... 131 3.2.2 Visual protest: Banksy .............................................................................. 131 3.2.2.1 A painter of everyday life ............................................................. 131 3.2.2.2 Champion of peace ....................................................................... 131 3.3 Wall writing - Translocal Culture ....................................................................... 157 3.3.1 Wall newspaper ........................................................................................ 157 3.3.2 Walls as objection books – a culture of disapproval .................................. 164 v Chapter 4: Visual Semiotics ............................................................................................ 171 4.1 Image and visual perception ............................................................................... 171 4.2 Image between the signifier and the signified ..................................................... 180 4.3 Types of visual discourse production and subculture .......................................... 189 4.3.1 Perceptions of the image ........................................................................... 192 4.3.2 Image and production of surface ............................................................... 192 4.3.3 The aesthetic of appearances ..................................................................... 198 4.3.4 The production of fake images .................................................................. 204 Conclusion ....................................................................................................................... 217 Bibliography .................................................................................................................... 221 Images Sources ................................................................................................................ 239 vi Table of Figures Figure 1-1 Napalm - Ronald McDonald and Mickey Mouse 12 Figure 1-2 Christ with Shopping Bags 14 Figure 1-3 Dorothy Count 15 Figure 1-4 Famine in Africa 16 Figure 1-5 Smoking Kills 18 Figure 1-6 Calgon: Cop 19 Figure 1-7 Occupy London 25 Figure 1-8 Pulp Fiction 28 Figure 1-9 The Hurt Lock 32 Figure 2-1 Kim Phuc - The Napalm Girl in Vietnam 42 Figure 2-2 The Statue of Saddam Hussein 43 Figure 2-3 Fall of Baghdad 44 Figure 2-4 American soldiers posing with Iraqi detainees in Abu Ghraib prison 45 Figure 2-5 Vietnam War 50 Figure 2-6 Vietnam Monk Protest 52 Figure 2-7 Vietnam War Saigon Execution 54 Figure 2-8 Dorothy Count 55 Figure 2-9 Muhammad al-Durrah incident 57 Figure 2-10 Girl in the Blue Bra 58 Figure 2-11 Abu Ghraib Prisoner Abuse 59 Figure 2-12 Little Girl 64 Figure 2-13 Marines Make Valentine's Day Visit in Fallujah, Iraq 65 Figure 2-14 An old man kissing a soldier's hand 67 Figure 2-15 Bush Mission Accomplished 69 Figure 2-16 Famine in Africa 71 vii Figure 2-17 A starving girl 73 Figure 2-18 Famine in Chad 74 Figure 3-1 Occupy London 137 Figure 3-2 One nation under CCTV 139 Figure 3-3 Rat Stencil 141 Figure 3-4 You Lie 142 Figure 3-5 Lying to the Police Is Never Wrong 142 Figure 3-6 Pulp Fiction 144 Figure 3-7 Don't Believe In Global Warming 145 Figure 3-8 Christ with Shopping Bags 146 Figure 3-9 Napalm - Ronald McDonald and Mickey Mouse 146 Figure 3-10 Very Little Helps - Tesco Pledge Your Allegiance 148 Figure 3-11 Mona Lisa with Bazooka Rocket 148 Figure 3-12 Banksy at the West Bank barrier 150 Figure 3-13 Stable conditions 151 Figure 3-14 Armoured Dove of Peace 153 Figure 3-15 Sweeping It under the Carpet 154 Figure 3-16 Kids on Guns Hills 155 Figure 3-17 Banksy brings art to the streets
Load more

Recommended publications
  • Diorama, Vera Cortês Art Agency, 2012
    Opening— Friday, June 1, 10 pm Diorama Alexandre Farto AKA Vhils Av. 24 de Julho, 54 -1ºE 1200-868 Lisboa, PT June 2 – September 8, 2012 The gallery will be closed from T/F +351 213 950 177 Tuesday to Saturday July 28 to September 4 for www.veracortes.com From 2pm to 7pm Summer holidays ALEXANDRE FARTO Na arquitectura actual habita um certo deslumbramento pelo tempo e pelo Como em quase todas as suas obras, o mais interessante da série Diorama DIORAMA espaço, em que tudo parece acontecer em todo o lado, quase em simultâ- encontra-se na habilidade manobrar os tempos de recepção do espectador. neo. O efémero e transitório ergue-se como protagonista do estado fluido de O primeiro momento, muito visível, mas vinculado à técnica, ao método. Texto por David Barro uma vida que muda constantemente de pele na ânsia pelo novo. Nada parece O seguinte, mais subtil, tem mais a ver com o processo e com o tempo, com vincular-se a um lugar concreto e há muito que as cidades deixaram de ser um a desconstrução destrutiva daquilo que flui como resto de um modo natural. lugar estável ou de ter uma forma claramente determinada. E muito menos um É, por isso, uma interrupção da realidade em si, do seu tempo e do seu espaço. movimento coerente. Crescemos mal e rápido demais. O suburbano transbor- Mas o jogo de ancas não é necessariamente uma ruptura da sua continuidade. dou e a cidade desapareceu enquanto unidade. Como na arte, uma realidade Seria mais uma elipse ou essa necessidade contemporânea de acidentar, de substitui outra, ocultando coisas, deixando de mostrar alguns fragmentos.
    [Show full text]
  • Scb Fall 2008
    SCB FALL 2008 SCB: TRULY INDEPENDENT SCB DISTRIBUTORS IS Dokument PROUD TO INTRODUCE Drago Inner Health Books Park It! Guides Tavin Press SCB: TRULY INDEPENDENT Cover photo of John Lee Hooker, Legendary American Bluesman Courtesy of Jay Blakesberg From his Traveling on a High Frequency, Rock Out Books, 2008 Further details on Page 8 of this SCB Catalogue Cover & Catalog Design by Rama Crouch-Wong Layout by Dan Nolte The Tarot of Perfection A Book of Tarot Tales By Rachel Pollack A collection of wildly imaginative tales of tarot, divination and desire from an award- winning author of fantasy and science fiction. Profound, touching and funny, these stories open fresh ways of seeing and meditating on tarot cards, providing provocative new insights and spiritual truths about the familiar archetypes of the tarot deck. These vivid, dreamlike fantasies invite readers to rearrange expectations while imagining the impossible. Rachel Pollack, considered one of the world's foremost authorities on modern tarot, was born in New York in 1945. She holds a BA, cum laude, in English from NYU, where she has taught, and an MA from Claremont Graduate School. She is also a poet, an award-winning novelist, and a tarot card and comic book artist. She has published 12 books on the tarot, including 78 Degrees of Wisdom (Thorsons, 1998). LIFETIME AUTHOR SALES: 200,000 COPIES She is a member of the ATA, the ITS, and the TGA. She has taught at the Institute for 15 years and has been conferred Tarot Grand Master by the Tarot Certification Board. She has also won the Arthur C.
    [Show full text]
  • La Sicilia Un Museo a Cielo Aperto
    Corso di laurea magistrale in storia delle arti e conservazione dei beni artistici Tesi di laurea La Sicilia un museo a cielo aperto Relatore Prof. Stringa Nico Correlatore Prof.ssa Prete Elisa Laureanda Fichera Emanuela Grazia Matricola 871592 Anno accademico 2018/2019 2 Ai miei genitori, Patrizia Vinciguerra e Salvatore Fichera, fonte di sostegno e di coraggio, che mi hanno trasmesso la passione per lo studio e la voglia di raggiungere questo traguardo più di qualsiasi altra cosa. Senza mia madre e mio padre, non avrei mai avuto la possibilità di studiare a Venezia e di scrivere questo elaborato. 3 4 Indice Introduzione 7 Capitolo primo IL MUSEO OLTRE I MARGINI DELL' EDIFICIO 1. Una nuova fruizione artistica: differenti realtà museali 10 1.1 Land Art la natura protagonista dell'arte 14 1.2 Arte all'aria aperta: i parchi dove la scultura è protagonista 20 1.3 I parchi d‟arte contemporanea in Italia: il Parco di Pinocchio, il Peggy Guggenheim Collection di Venezia, il Giardino dei Tarocchi, Arte Sella 23 Capitolo secondo RECUPERO ATTRAVERSO L’ARTE: TRE ESEMPI DI RIGENERAZIONE URBANA IN SICILIA 2 Rinnovamenti in Sicilia grazie all‟arte contemporanea 32 2.1 La vecchia Gibellina e la nuova Gibellina divenuta museo en plein air 33 2.2 Il Grande Cretto di Alberto Burri 51 2.3 La Fondazione Orestiadi e il Museo delle Trame del Mediterraneo 55 2.4 Intervista a Ludovico Corrao 62 2.5 Il parco di sculture: Fiumara D‟Arte di Antonio Presti 67 2.6 Il Seme d’Arancia di Emilio Isgrò 76 2.7 Fondazione Antonio Presti - Fiumara d‟Arte a Librino 77 2.8
    [Show full text]
  • A Uc Tion • P Aris • 2 5 Oc T 13
    DIGARD ART CONTEMPORAIN URBAIN - URBAN CONTEMPORARY ART DROUOT - VENDREDI 25 OCTOBRE 2013 AUCTION • PARIS • 25 OCT 13 En couverture / Cover BANKSY (Britannique, né en 1975) Sid Vicious Peinture aérosol et pochoir sur toile, signée en bas à droite. Cette œuvre a été réalisée à deux exemplaires avec une variante. Spray paint and stencil on canvas from varied edition of 2 each one unique signed with artist tag lower right and verso in black ink 91,5 X 91,5 cm - 36 x 36 in Un certificat d’authenticité de « Pest Control Office » sera remis à l’acquéreur Accompanied by a certificate of authenticity from Pest Control Office En 2e de couverture / Second cover DRAN (Français, né en 1980) Detail Technique mixte sur carton marouflé sur panneau Mixed media on cardboard mounted on wood CONTACTS29 x 44 cm - 11,41 x 17,32 in Commissaire-priseurUn certificat d’authenticité signé par l’artiste Vincent PESTEL-DEBORDsera remis à l’acquéreur [email protected] by a certificat of authencity by the artist Départements Montres et Bijoux Cathy DECHEZELLEEn dos de couverture / Back cover 56, rue La Fayette - 75009 Paris [email protected] T. +33 (0)1 76 21 55 00 SHEPARD FAIREY (Américain, né en 1970) F. +33 (0)1 76 21 55 01 in collaboration with New York City Youth [email protected] Départements Tableaux, Mobilier & Objets d’art www.pestel-debord.com Canelle DEUSYou can’t deny us Our Rights – City Kids Foundation, 2010 O.V.V. déclaration 017-2012 [email protected] aérosol, technique mixte et collage sur bois, signé et daté en bas à droite Spray paint and mixed media collage on wood panel, signed and dated in black ink lower right 122 x 244 cm - 48 x 96 in DIGARD DIGARD PESTEL-DEBORDPESTEL-DEBORD COMMISSAIRES PRISEURS JUDICIAIRESCOMMISSAIRES PRISEURS JUDICIAIRES CONTACTS 1 place Boieldieu CONTACTS 75002 PARIS 1 place Boieldieu Tél.
    [Show full text]
  • Theories of Development
    THEORIES OF DEVELOPMENT Theories of Development Contentions, Arguments, Alternatives SECOND EDITION RICHA R D PEET ELAINE HA R TWICK THE GUILFORD PRESS New York London © 2009 The Guilford Press A Division of Guilford Publications, Inc. 72 Spring Street, New York, NY 10012 www.guilford.com All rights reserved No part of this book may be reproduced, translated, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording, or otherwise, without written permission from the Publisher. Printed in the United States of America This book is printed on acid-free paper. Last digit is print number: 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Peet, Richard. Theories of development : contentions, arguments, alternatives / Richard Peet, Elaine Hartwick. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-1-60623-066-4 (hardcover : alk. paper) ISBN 978-1-60623-065-7 (pbk. : alk. paper) 1. Economic development. 2. Dependency. 3. Capitalism. 4. Marxian economics. I. Title. HD75.P43 2009 338.9—dc21 2008050378 For our parents— Eileen Migala, Harold Wilfred Peet, Anna B. Hartwick, and John A. Hartwick And our children— James C. Peet, Lukas J. Klapatch, Eric R. Peet, and Anna E. Peet MY ANN A EL A IN E It was while sharing a quiet moment together, when my soft whispering to her was answered in return with a wondrous look and a low cooing sound as her small hand reached out to mine and her tiny fingers wrapped around my heart —ABH, August 2002 Preface This book began as a rewrite of Global Capitalism, published by Routledge in 1991, and then of Theories of Development, published by Guilford in 1999.
    [Show full text]
  • Reimagine the Degrowth Theory in a Resilient Community: the Fragile Path Toward “Democracity”
    Reimagine the Degrowth theory in a resilient community: the fragile path toward “DemocraCity” Marco Carcea This thesis is submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy Faculty of Health, Arts and Design Swinburne University of Technology 2019 1 Abstract For the last ten years, the world economic system has been suffering from the effects of the Global Financial Crisis (GFC) and the ineffectual regulation of the world’s financial systems. A second significant crisis occurring at the same time is the environmental crisis due to the increasing threat posed by climate change. These events have drawn more attention to the issues of sustainability and the impossibility of infinite economic growth in a finite world. A significant paradigm to emerge out of these crises is the idea known as “Degrowth Theory” introduced by Serge Latouche in 2007. This paradigm advocates the need for a transition to a more “sustainable” social, economic, and environmental system. Within the framework of Degrowth Theory and combining it with the application of the concept of resilience for communities (Kimhi & Shamai, 2004), this thesis investigates the existing literature on degrowth and resilience within urban centres. The aim of this research is to find possible and achievable approaches discussed in the literature in the broad area of degrowth and resilience that still require comparison and oversight to provide a better understanding of this theoretical framework. This study combines these two approaches to develop a new perspective and to lay the foundation for the difficult but necessary path for the creation of an inclusive democratic society and to safeguard the planet threatened by the dematerialization of consciousness brought about by the current economic system.
    [Show full text]
  • Pannello Didattico
    “Rinascita”, rinnovamento e rigenerazione sono alcune delle parole insite nelle opere di Sten Lex, i pionieri italiani dello stencil poster nel mondo. Le loro enormi figure dai visi sconosciuti e le loro fitte trame astratte si trovano oggi sui muri di Parigi, New York, Londra, Shangai, Barcellona, Città del Messico, Madrid, Roma. Stencil e poster, pezzi di carta dipinti ed attaccati al muro, volti giganti che sorvegliano indisturbati la strada e i passanti, a volte apertamente, altre in angoli urbani nascosti e da scoprire: sono lavori dinamici che prendono vita nel tempo insieme alle pareti, rinascono cambiando pelle e liberandosi delle matrici, carte ritagliate con residui sospesi, in parte strappati, che invecchiano per strada, muoiono e si decompongono diventando parte dell’opera stessa. Uno stile innovativo, che è stato acclamato in tutto il mondo e che ha reso Sten e Lex gli urban artists italiani più celebri a livello internazionale. In occasione della mostra alla GAM, che presenta una selezione di opere di formato medio- grande, tra cui stencil poster e stampa su carta, i due artisti italiani hanno anche realizzato un’installazione stencil poster nel chiostro/giardino della Galleria, un luogo antico, rarefatto e riportato alla contemporaneità grazie al loro potente segno. Sten Lex sono gli pseudonimi di due Urban artists e i loro significati denotano già alcuni aspetti del loro lavoro: Sten deriva da “stencil” e Lex dal latino “legge”. Uno è romano, l’altra tarantina, classe 79-80. I loro nomi compaiono per la prima volta sui muri di Roma nel 2001 con opere contenenti forti richiami al cinema, all’arte sacra e alla cultura pop.
    [Show full text]
  • VHILS: RUAS COM ROSTO Estudo De Caso Sobre O Percurso Artístico De Alexandre Farto Apêndice
    UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES VHILS: RUAS COM ROSTO Estudo de Caso sobre o percurso artístico de Alexandre Farto Apêndice Joana Isabel Gaudêncio Matos Orientador(es): Professora Doutora Maria Margarida Teixeira Barradas Calado Professora Doutora Maria Margarida da Silva Rocha Tese especialmente elaborada para a obtenção do grau de Doutor em Belas- Artes, na especialidade de Ciências da Arte 2020 0 UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES VHILS: RUAS COM ROSTO Estudo de Caso sobre o percurso artístico de Alexandre Farto Joana Isabel Gaudêncio Matos Apêndice Orientador(es): Professora Doutora Maria Margarida Teixeira Barradas Calado Professora Doutora Maria Margarida da Silva Rocha Tese especialmente elaborada para a obtenção do grau de Doutor em Belas-Artes, na especialidade de Ciências da Arte Júri: Presidente: Doutor Eduardo Manuel Alves Duarte, Professor Auxiliar e vogal do Conselho Científico da Faculdade de Belas-Artes da Universidade de Lisboa, Presidente do júri por nomeação da Presidente do Conselho Científico desta Faculdade, Profª Doutora Maria João Pestana Noronha Gamito, nos termos do nª 2.1. do Despacho n.º5011/2019, do Diário da República, 2ª série, nº96, de 20 de maio. Vogais: - Doutora Teresa Isabel Matos Pereira, Professora Adjunta da Escola Superior de Educação do Instituto Politécnico de Lisboa (1ºarguente); Doutor José Pedro Rangel dos Santos Regatão, Professor Adjunto da - Escola Superior de Educação do Instituto Politécnico de Lisboa (2ºarguente); - Doutora Cristina de Sousa Azevedo Tavares, Professora Associada da Faculdade de Belas-Artes da Universidade de Lisboa; Doutora Maria Margarida Teixeira Barradas Calado, Professora Associada - Aposentada da Faculdade de Belas-Artes da Universidade de Lisboa (orientadora).
    [Show full text]
  • Street Art : Entre Tunnels Et Galeries, Toujours Hors Les Murs
    Bibliothèque nationale de France direction des collections département Littérature et art Juillet 2015 STREET ART ENTRE TUNNELS ET GALERIES TOUJOURS HORS LES MURS Bibliographie sélective JR à la BnF Tour Paris 13 Comme son nom l’indique, le street art, ou art urbain, se réalise dans la rue et est créé pour la rue. En interpellant le passant, il est relié à la vie quotidienne qu’il poétise. Par l’éclairage différent qu’il apporte, il amène le public à regarder d’un œil neuf le lieu qu’il fréquente. La rue devient ainsi une galerie en plein air, gratuite et accessible à tous. Ce lieu d’exposition privilégié n’offre pas à l’artiste simplement une visibilité, c’est aussi un espace d’autopromotion où il fait littéralement don de ses œuvres. Celles-ci, indissociables de l’emplacement que leur a choisi l’artiste, ne sont pas un simple divertissement. Le street art est aussi un art de l’interrogation : par son effet de surprise, il questionne la société en révélant quelque chose de la vie urbaine dans laquelle il prend naissance. C’est aussi un art de l’engagement, de la critique ou de la dénonciation, voire de la subversion : peindre dans la rue, c’est échapper aux institutions, à la censure, aux codes imposés. Renforcée par le phénomène actuel du Do It Yourself, la valeur de l’œuvre se mesure également à la performance réalisée, tel un support aux dimensions géantes ou un lieu d’accès difficile voire interdit. Les artistes s’inscrivent dans différents courants ou styles (tag, writing, fresque, calligraffiti, bubble, wildstyle, flop), utilisent des techniques diverses (graffiti, pochoir, affiche, sticker), manient des outils variés (marqueur, aérosol, pinceau, craie) et créent un langage qui leur est propre dans un ensemble qui fait sens (forme, couleur, message).
    [Show full text]
  • Global Capitalism and the Demice of the Left
    global capitalism and the demise of the left: renewing radicalism through inclusive democracy edited by steve best ISSN 1753-240X A PUBLICATION OF THE INTERNATIONAL JOURNAL OF OF INCLUSIVE DEMOCRACY A quarterly journal published by the International Network for Inclusive Democracy Vol. 5, No. 1, special issue winter 2009 iv This IJID publication is an English translation of the book with the same title published in Athens in 2008 (Koukkida) ISBN 978- 960-98038-5-4 Copyright (C) reserved for the International Journal of Inclusive Democracy, 2009. We welcome requests for translations and/or printed publications into any language (except Greek), which will not be charged for “copyright law rights” provided that we are informed about them in advance and the source is fully mentioned. v Contents the authors...........................................................1 INTRODUCTION Crisis Culture and the Waning of Revolutionary Politics steven best ......................................................... 11 Our Aims international network for inclusive democracy ......... 41 PART I GROWTH, MARKET, SOCIETY AND DEMOCRACY Market and Society takis nikolopoulos ............................................... 49 The Market Economy and the Biological Crisis dr. panayotis koumentakis ..................................... 53 Towards a New Vision for Global Society rafael spósito ..................................................... 77 vi Social Movements, Conflicts and a Perspective of Inclusive Democracy in Argentina guido galafassi ..................................................
    [Show full text]
  • Download Free Ebooks At
    Degrowth download free ebooks at www.magus-turris.blogspot.com 1 cover image : drawing of the ecovillage of Torri Superiore (Italy) http://www.torri-superiore.org/ This ebook is a gift from the literary blog www.magus-turris.blogspot.com download free ebooks at www.magus-turris.blogspot.com 2 Degrowth Degrowth (French: décroissance) is a political, economic, and social movement based on ecological economics, anti-consumerist and anti- capitalist ideas.[1] It is also considered an essential economic strategy responding to the limits-to-growth dilemma (see The Path to Degrowth in Overdeveloped Countries and post-growth). Degrowth thinkers and activists advocate for the downscaling of production and consumption – the contraction of economies – arguing that overconsumption lies at the root of long term environmental issues and social inequalities. Key to the concept of degrowth is that reducing consumption does not require individual martyring or a decrease in well-being.[2] Rather, "degrowthers" aim to maximize happiness and well-being through non-consumptive means—sharing Pro-degrowth graffiti on the July Column in the work, consuming less, while devoting more time to art, music, Place de la Bastille in Paris during a protest family, nature, culture and community. against the First Employment Contract, 28 March 2006 Contents Background Resource depletion Ecological footprint Degrowth and sustainable development[9] "Rebound effect" Origins of the movement Club of Rome reports Lasting influence of Georgescu-Roegen Serge Latouche Schumacher
    [Show full text]
  • Democracy and Relativism
    DEMOCRACY AND RELATIVISM DISCUSSION WITH THE “MAUSS” GROUP by Cornelius Castoriadis* translated from the French and edited anonymously as a public service *“Cornelius Castoriadis” is here a pseudonym for Paul Cardan.** **A Paul Cardan (active 1959-1965) was a pseudonym for Cornelius Castoriadis (1922-1997). NOTICE The present volume is offered to readers as a public service in the hopes of encouraging reflection and action aimed at deepening, and realizing, the project of individual and collective autonomy on a worldwide basis in all its manifestations. Neither any website that would make the electronic version available nor any other distributor who may come forward in any medium is currently authorized to accept any financial remuneration for this service. “The anonymous Translator/Editor” (T/E) will thus not receive, nor will T/E accept, any monetary payment or other compensation for his/her labor as a result of this free circulation of ideas. Anyone who downloads or otherwise makes use of this tome is suggested to make a free-will donation to those who have presented themselves as the legal heirs of Cornelius Castoriadis: Cybèle Castoriadis, Sparta Castoriadis, and Zoé Castoriadis. Either cash or checks in any currency made payable simply to “Castoriadis” may be sent to the following address: Castoriadis, 1 rue de l’Alboni 75016 Paris FRANCE A suggested contribution is five (5) dollars (US) or five (5) euros. The aforesaid legal heirs are totally unaware of this undertaking, and so it will be completely for each individual user to decide, on his or her own responsibility (a word not to be taken lightly), whether or not to make such a contribution—which does not constitute any sort of legal acknowledgment.
    [Show full text]