An examination of architecture and art as a screen of vital cultural memory that considers museum culture, visual technology, and the border of public and private space. In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space—a screen of vital cultural memory—has come to shape our visual culture. Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"—and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca—Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.

This book explores emergent intimate practices in social media cultures. It examines new digital intimacies as they are constituted, lived, and commodified via social media platforms. The study of social media practices has come to offer unique insights into questions about what happens to power dynamics when intimate practices are made public, about intimacy as public and political, and as defined by cultural politics and pedagogies, institutions, technologies, and geographies. This book forges new pathways in the scholarship of digital cultures by fusing queer and feminist accounts of intimate publics with critical scholarship on digital identities and everyday social media practices. The collection brings together a diverse range of carefully selected, cutting-edge case studies and groundbreaking theoretical work on topics such as selfies, oversharing, hook-up apps, sexting, Gamergate, death and grief online, and transnational family life. The book is divided into three parts: ‘Shaping Intimacy’, ‘Public Bodies’, and ‘Negotiating Intimacy’. Overarching themes include identity politics, memory, platform economics, work and labour, and everyday media practices.

A Public Intimacy (A Life Through Scrapbooks) is a way of reviewing an archive. Cuttings, clippings and comments, the stuff of scrapbooks, started in 1964, make up part of the author's archive, the information that threads through the library, events and life explored. The book does not fit easily into any genre or category, blurring notions of essay or biography, or ideas employed in fiction writing and other art forms. Traversing paths pursued in visual art is a key factor, even outside the more obvious image pages. Collage is part of the process, with cuttings scrolling vertically alongside the text, forming an adjacent narrative. In part an account of the times, the counter-currents and counter-culture of the last four decades, in part an exploration of the nature of scrapbooks and of collections, the book forms as much a counter-intellectual narrative of the times, as counter-biography, revealing as much as the writer wants, playing into the hands of fiction as much as any novel.Paul Buck works as a poet, writer, playwright, artist, performer, translator and teacher in the visual arts. As well as founding the seminal magazine Curtains, which blasted French contemporary writing into British culture, he is the author, editor and translator of numerous published and unpublished works, appended in this book as Selected Context.

Love and Intimacy in Contemporary Society reflects on relationships in contemporary society and the role of love and intimacy in framing lives. The book draws on sociological perspectives, cultural sociology and gender theory perspectives. It looks at how love and intimacy is experienced differently and intersected by gender, ethnicity, race and sexuality. This book aims to encourage people to understand theories of intimacy, emotions and desire by examining these concepts contemporaneously and cross-culturally. It also explores how love and intimacy is experienced by young people and how it is impacted by age. It looks at its representation in the media and film and focuses on how gender, ethnicity and sexuality offer different perspectives on love and intimacy. The book shows how relationships are impacted by social networking and new technologies and the opportunities and challenges posed by these new platforms for building relationships. Finally, the book examines how intimacy has become commercialised in late capitalism and how that acts to change relationships. The book is written in an accessible way and explores a range of theoretical debates and contemporary research around emotions, which can be useful for undergraduate, postgraduate and doctoral study.

Focusing on three entertainers who have become national icons Martin Stokes offers a portrait of Turkish identity that is very different from the official version of anthems and flags. In particular, he discusses how a Turkish concept of love has been developed through the work of the singers and the public reaction to them.

Voicing Subjects traces the relation between public speech and notions of personal interiority in Kathmandu. It explores two seemingly distinct formations of voice that have emerged in the midst of the country’s recent political and economic upheavals: a political voice associated with civic empowerment and collective agency, and an intimate voice associated with emotional proximity and authentic feeling. Both are produced and circulated through the media, especially through interactive technologies. The author argues that these two formations of voice are mutually constitutive and aligned with modern ideologies of democracy and neoliberal economic projects. This ethnography is set during an extraordinary period in Nepal’s history that has seen a relatively peaceful 1990 revolution that re-established democracy, a Maoist civil war, and the massacre of the royal family. These dramatic changes have been accompanied by the proliferation of intimate and political discourse in the expanding public sphere, making the figure of voice ever more critical to an understanding of emerging subjectivity, structural change and cultural mediation.