A book of collages representing the dreams and realities of modern architecture.

I am. We are. That is enough. Now we have to start. These are the opening words of Ernst Bloch's first major work, The Spirit of Utopia, written mostly in 1915-16, published in its first version just after the First World War, republished five years later, 1923, in the version here presented for the first time in English translation. The Spirit of Utopia is one of the great historic books from the beginning of the century, but it is not an obsolete one. In its style of thinking, a peculiar amalgam of biblical, Marxist, and Expressionist turns, in its analytical skills deeply informed by Simmel, taking its information from both Hegel and Schopenhauer for the groundwork of its metaphysics of music but consistently interpreting the cultural legacy in the light of a certain Marxism, Bloch's Spirit of Utopia is a unique attempt to rethink the history of Western civilizations as a process of revolutionary disruptions and to reread the artworks, religions, and philosophies of this tradition as incentives to continue disrupting. The alliance between messianism and Marxism, which was proclaimed in this book for the first time with epic breadth, has met with more critique than acclaim. The expressive and baroque diction of the book was considered as offensive as its stubborn disregard for the limits of "disciplines." Yet there is hardly a "discipline" that didn't adopt, however unknowingly, some of Bloch's insights, and his provocative associations often proved more productive than the statistical account of social shifts. The first part of this philosophical meditation--which is also a narrative, an analysis, a rhapsody, and a manifesto--concerns a mode of "self-encounter" that presents itself in the history of music from Mozart through Mahler as an encounter with the problem of a community to come. This "we-problem" is worked out by Bloch in terms of a philosophy of the history of music. The "self-encounter," however, has to be conceived as "self-invention," as the active, affirmative fight for freedom and social justice, under the sign of Marx. The second part of the book is entitled "Karl Marx, Death and the Apocalypse." I am. We are. That's hardly anything. But enough to start.

Utopia has long been banished from political theory, framed as an impossible—and possibly dangerous—political ideal, a flawed social blueprint, or a thought experiment without any practical import. Even the "realistic utopias" of liberal theory strike many as wishful thinking. Can politics think utopia otherwise? Can utopian thinking contribute to the renewal of politics? In Political Uses of Utopia, an international cast of leading and emerging theorists agree that the uses of utopia for politics are multiple and nuanced and lie somewhere between—or, better yet, beyond—the mainstream caution against it and the conviction that another, better world ought to be possible. Representing a range of perspectives on the grand tradition of Western utopianism, which extends back half a millennium and perhaps as far as Plato, these essays are united in their interest in the relevance of utopianism to specific historical and contemporary political contexts. Featuring contributions from Miguel Abensour, Étienne Balibar, Raymond Geuss, and Jacques Rancière, among others, Political Uses of Utopia reopens the question of whether and how utopianism can inform political thinking and action today.

In Re-Situating Utopia Matthew Nicholson argues that international law and international legal theory are dominated by a ‘blueprint’ utopianism that presents international law as the means of achieving a better global future. Contesting the dominance of this blueprintism, Nicholson argues that this approach makes international law into what philosopher Louis Marin describes as a “degenerate utopia” – a fantastical means of trapping thought and practice within contemporary social and political conditions, blocking any possibility that those conditions might be transcended. As an alternative, Nicholson argues for an iconoclastic international legal utopianism – Utopia not as a ‘blueprint’ for a better future, operating within the confines of existing social and political reality, but as a means of seeking to negate and exit from that reality – as the only way to maintain the idea that international law offers a path towards a truly better future.

A collection of short interludes, think pieces, and critical essays on landscape, utopia, philosophy, culture, and food, all written in a highly original and engaging style by academic and theorist Tim Waterman. Exploring power and democracy, and their shaping of public space and public life, taste, etiquette, belief and ritual, and foodways in community and civic life, the book provides a much-needed critical approach to landscape imaginaries. It discusses landscape in its broadest sense, as a descriptor of the relationship between people and place that occurs everywhere on land, from cities to countryside, suburb to wilderness. With over fifty black and white illustrations interspersing the twenty-six chapters, this is a book for professionals, academics, and students to dive into and spark discussion on new modes of thinking in the wake of unfolding global crises, such as COVID-19, climate change, fascism 2.0, and beyond.

"Utopia/Dystopia investigates how artists from the late nineteenth century to the present have used photograpic fragments or techniques to represent political, social, or cultural states of utopia or dystopia. This catalogue is heavily illustrated with works from the accompanying exhibition"--

Collage and Architecture is the first book to cover collage as a tool for design in architecture, making it a valuable resource for students and practitioners. Author Jennifer Shields uses the artworks and built projects of leading artists and architects, such as Le Corbusier, Daniel Libeskind, and Teddy Cruz to illustrate the diversity of collage techniques. The six case study projects from Mexico, Argentina, Sweden, Norway, the United States, and Spain give you a global perspective of architecture as collage. Collage is an important instrument for analysis and design, and Shields’s presentation of this versatile medium draws on decades of relevance in art and architecture, to be adapted and transformed in your own work.