Suchergebnisse

Places Made After Their Stories shows how the emotional geographies we carry inside us and the ecstatic desire at the heart of democratic community-making can come together to inform contemporary landscape and urban design. Using Australian case studies of public space design from Alice Springs to Perth and Melbourne. Paul Carter describes a new approach to place-making in which topography and choreography fuse. He counters the symbolic neglect of functionalist design with a brilliant account of poetic and graphic techniques developed to materialize ambience. Carter describes a practice of sense-making and form-making that embodies fundamental gestures of welcome, arrangement, and exchange in the built setting

" In this remarkable and often dazzling book, Paul Carter explores the conditions for sociability in a globalized future. He argues that we make many assumptions about communication but overlook barriers to understanding between strangers as well as the importance of improvisation in overcoming these obstacles to meeting. While disciplines such as sociology, legal studies, psychology, political theory, and even urban planning treat meeting as a good in its own right, they fail to provide a model of what makes meeting possible and worth pursuing: a yearning for encounter. The volume's central narrative--between Northern cultural philosophers and Australian societies--traverses the troubled history of misinterpretation that is characteristic of colonial cross-cultural encounter. As he brings the literature of Indigenous and non-Indigenous anthropological research into dialogue with Western approaches of conceptualizing sociability, Carter makes a startling discovery: that meeting may not be desirable and, if it is, its primary objective may be to negotiate a future of non-meeting. To explain the phenomenon of encounter, Carter performs it in differing scales, spaces, languages, tropes, and forms of knowledge, staging in the very language of the book what he calls "passages." In widely varying contexts, these passages posit the disjunction of Greco-Roman and Indigenous languages, codes, theatrics of power, social systems, and visions of community. In an era of new forms of technosocialization, Carter offers novel ways of presenting the philosophical dimensions of waiting, meeting, and non-meeting. "--

Strap yourself in for an exhilarating, crazed, sometimes terrifying, frequently bloody funny ride through one man's adventures in the oil trade. A take no prisoners approach to life has seen Paul Carter heading to some of the world's most remote, wild and dangerous places as a contractor in the oil business. Amazingly, he's survived (so far) to tell these stories from the edge of civilization. He has been shot at, hijacked and held hostage; almost died of dysentery in Asia and toothache in Russia; watched a Texan lose his mind in the jungles of Asia; lost a lot of money backing a scorpion agai

In this outrageous sequel to Don't Tell Mum I Work on the Rigs (She Thinks I'm a Piano Player in a Whorehouse), Paul Carter picks up right where he left off, and pulls out more adventures from a mad, bad and dangerous life in the international oil trade. Packed with action and mayhem galore, This Is Not a Drill cracks along at an unrelenting pace. In this fast, furious and very funny book, Paul almost drowns when the Russian rig he's working on begins to capsize; is reunited with his dad, another adrenaline junkie; gets married; hangs out with his rig buddies in exotic locations; gets hammered

"In short, Dark Writing asks why we represent the world as static when our experience of it is mobile. It traces this bias in Enlightenment cartography, in inductive logic, and in contemporary place design. This is the negative critique. Its positive argument is that, when we look closely at these designs on the world, we find traces of a repressed movement form. Even the ideal lines of geometrical figures turn out to contain traces of earlier passages; and there are many forms of graphic design that do engage with the dark environment that surrounds the light of reason. How can this 'dark writing' - so important to reconfiguring our world as a place of meeting, of co-existence and sustaining diversity - be represented? And how, therefore, can our representations of the world embody more sensuously the mobile histories that have produced it? Dark Writing answers these questions using case studies: the exemplary case of the beginnings of the now world-famous Papunya Tula Painting Movement (Central Australia) and three high-profile public place-making initiatives in which the author was involved as artist and thinker. These case studies are nested inside historical chapters and philosophical discussions of the line and linear thinking that make Dark Writing both a highly personal book and a narrative with wide general appeal."--Book cover