In an age of globalization characterized by the dizzying technologies of the First World, and the social disintegration of the Third, is the concept of utopia still meaningful? Archaeologies of the Future, Jameson's most substantial work since Postmodernism, Or, the Cultural Logic of Late Capitalism, investigates the development of this form since Thomas More, and interrogates the functions of utopian thinking in a post-Communist age. The relationship between utopia and science fiction is explored through the representations of otherness . alien life and alien worlds . and a study of the works of Philip K. Dick, Ursula LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson and more. Jameson's essential essays, including "The Desire Called Utopia," conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

This book uses the reflection of academics specialized in the urban area of ​​Latin America, Europe and the United States, to initiate a comparative debate of the different dynamics in which Urbicidio expresses itself. The field or focal point of analysis that this publication approaches is the city, but under a new critical perspective of inverse methodology to that has been traditional used. It is about understanding the structural causes of self-destruction to finally thinking better and then going from pessimism to optimism. It is a deep look at the city from an unconventional entrance, because it is about knowing and analyzing what the city loses by the action deployed by own urbanites, both in the field of its production and in the field of its consumption. This suppose that the city does not have an ascending linear sequential evolution in its development but neither in each of its parts in the improvement process, showing the face that commonly not seen but others live. The category used for this purpose is that of Urbicidio or the death of the city, which contributes theoretically and methodologically to the knowledge of the city, as well as to the design of urban policies that neutralize it. In addition, it is worth mentioning that the book has an inclusive view of the authors. For this reason, gender parity, territorial representation and the presence of age groups have been sought.

Heritage is not what we see in front of us, it is what we make of it in our heads. Heritage sites have been connected to a range of identarian projects, both spatial and non-spatial. One of the most common links with heritage has been national identity. This book stresses that heritage has developed powerful links to regional and local identities. Contributors deal explicitly with regions of heavy industry in different parts of the world, exploring non-spatial forms of identity: including class, religious, ethnic, racial, gender and cultural identities. In many heritage sites, non-spatial forms of identity are interlinked with spatial ones. Civil society action has been important in representations of regional identities and industrial-heritage campaigns. Region-branding seems to determine the ultimate success of industrial heritage, a process that is closely connected to the marketing of regions to provide a viable economic future and attract tourism to the region. Selected case-studies on coal and steel producing regions in this book provide the first global survey of how regions of heavy industry deal with their industrial heritage, and what it means for regional identity and region-branding. This book draws a range of powerful conclusions about the path dependency of particular forms for post-industrial regional identity in former regions of heavy industry. It highlights both commonalities and differences in the strategies employed with regard to the regions’ industrial heritage. This book will appeal to lecturers, students and scholars in the fields of heritage management, industrial studies and cultural geography .

La muestra se propone penetrar en el presente del arte español. A través de la participación de 56 artistas, no pretende arrojar una mirada totalizadora sobre el aquí y ahora, sino dar mayor visibilidad a formas de trabajo que se han desarrollado en los últimos 20 años. A modo de marco conceptual, el proyecto se ha articulado en torno a la idea de "expectativa", entendida como una bisagra mediadora entre pasado, presente y futuro.

This publication documents the project ¡Únete! / Join us! created by Spanish artist Jordi Colomer (born 1962) for the Spanish Pavilion at the 57th Venice Biennale in 2017. Colomer's project combines video, sculpture and architecture in an exploration of the relationship between individual and community.