There are now new experiences of space and time; new tensions between globalism and regionalism, socialism and consumerism, reality and spectacle; new instabilities of value, meaning and identity - a dialectic between past and future. How are we to understand these? Mapping the Futures is the first of a series which brings together cultural theorists from different disciplines to assess the implications of economic, political and social change for intellectual inquiry and cultural practice.

Block was a hugely influential journal in the developing fields of Visual and Cultural Studies. The journal's editors and contributors sought to further the critical tradition in art history, respond to the work of contemporary artists, and bring the concerns of new cultural and critical theory, particularly feminist and post-colonial theory, to the study of art and design history.
The Block Reader brings together classic writings by leading cultural theorists and artists which were first published in the journal, to provide an invaluable resource for the teaching and study of art and design history and theory and cultural studies.

We are living in an age when 'nature' seems to be on the brink of extinction yet, at the same time, 'nature' is becoming increasingly ubiquitous and unstable as a category for representation and debate.
Futurenatural brings together leading theorists of culture and science to discuss the concept of 'nature' - its past, present and future. Contributors discuss the impact on our daily life of recent developments on biotechnologies, electronic media and ecological politics. Increasingly, scientific theories and models have been taken up as cultural metaphors that have material effects in transforming 'ways of seeing' and 'structures of feeling'.
The book addresses the issue of whether political and cultural debates about the body and environment can take place without reference to 'nature' or the 'natural'. This collection considers how we might 'think' a future developing from emergent scientific theories and discourses. What cultural forms may be produced when new knowledges challenge and undermine traditional ways of conceiving the 'natural'.

Between 1979 and 1989, "BLOCK" initiated and responded to key debates in visual and cultural studies, publishing writings by artists, art and design historians and cultural theorists. The journal's editors and contributors furthered the critical tradition in art history, responded to the work of contemporary artists, and brought the concerns of new cultural and critical theory to the study of art and design history. The" BLOCK Reader in Visual Culture" brings together classic writings by leading cultural theorists and artists first published in this seminal journal and which are now unavailable, providing an invaluable resource for the teaching and study of art and design as well as theory and cultural studies.
Contributors: Jon Bird, Barry Curtis, Tamar Garb, Philippa Goodall, Nicholas Green, Frank Hannah, Dick Hebdige, Lucy Lippard, Frank Mort, Kathy Myers, Fred Orton, Claire Pajaczkowska, Griselda Pollock, Tim Putnam, Oliver Richon, Martha Rosler, Lisa Tickner, Necdet Teymur, Judith Williamson.

We are living in an age when 'nature' seems to be on the brink of extinction yet, at the same time, 'nature' is becoming increasingly ubiquitous and unstable as a category for representation and debate.
F uturenatural brings together leading theorists of culture and science to discuss the concept of 'nature' - its past, present and future. Contributors discuss the impact on our daily life of recent developments in biotechnologies, electronic media and ecological politics. Increasingly, scientific theories and models have been taken up as cultural metaphores that have material effects in transforming 'ways of seeing' and `structures of feeling'.
The book addresses the issue of whether political and cultural debates about the body and the environment can take place without reference to 'nature' or the `natural'. This collection considers how we might 'think' a future developing from emergent scientific theories and discourses. What cultural forms may be produced when new knowledges challenge and undermine traditional ways of conceiving the 'natural' ?

Series Information:
Futures: New Perspectives for Cultural Analysis

This text investigates the future for travelling in a world whose boundaries are shifting and dissolving. The contributors bring together popular and critical discourses of travel to explore questions of identity and politics; history and narration; collecting and representing other cultures; and tourism.

There are now new experiences of space and time; new tensions between globalism and regionalism, socialism and consumerism, reality and spectacle; new instabilities of value, meaning and identity - a dialectic between past and future. How are we to understand these?
Mapping the Futures is the first of a series which brings together cultural theorists from different disciplines to assess the implications of economic, political and social change for intellectual inquiry and cultural practice.

The Industrial Heritage is the first integrated approach to the assessment, conservation, interpretation, financing and management of the complex heritage of industrial cultures. It breaks new ground, as the authors (both active workers in the field) suggest that concepts of heritage defined to deal with pre-industrial cultures must be modified to deal with the very different demands presented by industrial objects and the societies which produced them.
The essence of this book is practicality, offering examples of the real issues which confront those concerned with preserving and managing the industrial heritage.


eBook available with sample pages: 0203392914

The Industrial Heritage is the first integrated approach to the assessment, conservation, interpretation, financing and management of the complex heritage of industrial cultures. It breaks new ground, as the authors (both active workers in the field) suggest that concepts of heritage defined to deal with pre-industrial cultures must be modified to deal with the very different demands presented by industrial objects and the societies which produced them. The essence of this book is practicality, offering examples of the real issues which confront those concerned with preserving and managing the industrial heritage.