Atlas Or The Anxious Gay Science
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Atlas, or the Anxious Gay Science
Author: Georges Didi-Huberman
language: en
Publisher: University of Chicago Press
Release Date: 2018-10-11
Aby Warburg’s Mnemosyne Atlas (1925–1929) is a prescient work of mixed media assemblage, made up of hundreds of images culled from antiquity to the Renaissance and arranged into startling juxtapositions. Warburg’s allusive atlas sought to illuminate the pains of his final years, after he had suffered a breakdown and been institutionalized. It continues to influence contemporary artists today, including Gerhard Richter and Mark Dion. In this illustrated exploration of Warburg and his great work, Georges Didi-Huberman leaps from Mnemosyne Atlas into a set of musings on the relation between suffering and knowledge in Western thought, and on the creative results of associative thinking. Deploying writing that delights in dramatic jump cuts reminiscent of Warburg’s idiosyncratic juxtapositions, and drawing on a set of sources that ranges from ancient Babylon to Walter Benjamin, Atlas, or the Anxious Gay Science is rich in Didi-Huberman’s trademark combination of elan and insight.
Speculative Cartographies
Grzegorz Czemiel examines ways in which cartography has been imaginatively reclaimed in philosophy, literature and art to develop new ontologies that challenge unreflective anthropocentrism and capitalist-driven globalization. Speculative cartographies strive to account for material processes occurring across various spatiotemporal scales. In effect, they open alternative visions of the global, situating humanity in the planetary context and responding to today’s environmental crises. Exploratory map-makers enquire about the relationship between people and Earth, transforming notions of humanism and nature in the process. Such efforts contribute to the development of a materialist cartographical imagination necessary to interrogate capitalist realism and envision sustainable futures.
Critical Image Configurations: The Work of Georges Didi-Huberman
This book illuminates a variety of the key themes and positions that are developed in the work of art historian and philosopher Georges Didi-Huberman, one of the most influential image-theorists of our time. Beginning with a translated exchange on the politics of images between Jacques Rancière and Georges Didi-Huberman, the volume further contains a translation of Didi-Huberman’s essay on Georges Bataille’s writings on art. The articles in this book explore the influence of Theodor Adorno and Aby Warburg on Didi-Huberman’s work, the relationship between ‘image’ and ‘people', his insights on witnessing and memory, the theme of phasmids and his reflections on aura, pathos and the imagination. Taken as a whole, the book will give readers an insight into the rich and expansive work of Didi-Huberman, beyond the books that are currently available in English. This book was originally published as a special issue of Angelaki: Journal of the Theoretical Humanities.