We all know the struggles of writing the obligatory Master Thesis, alumni and students alike. Whether it’s choosing a topic, looking for sources or rewriting chapters over and over. I’m not even speaking of all the mental breakdowns that follow in their wake. But to encourage you to press on, I would like to share with you my unexpected journey.
Look. Evoke. Shake. Flicker.
An admiration of images then, a record of life now, a salute to the past, a celebration of the present, and a quest for the future.
“Abstract comics” are a vital strand of contemporary avant-garde comics, nowadays well-represented and largely accepted in various countries and traditions.
Sianne Ngai’s Our Aesthetic Categories (Harvard UP, 2012), which makes a plea to broaden the intellectual and terminological toolkit of our contemporary ways of experiencing culture, has been dramatically important in the fine-tuning of older concepts and frameworks
Much like scents, flavours and music, photographs are powerful triggers of memory. So what better medium to recall a past as recent and as iconic as early postwar Europe…? For about a year, the consortium involved in the project ‘50s in Europe Kaleidoscope’ has been diving into collections of libraries, archives and commercial agencies across Europe, to trace the tracks of the fifties in photography.
La Maison d’ailleurs (“The House of Elsewhere”) is a Swiss museum exclusively devoted to the world of science-fiction (http://www.ailleurs.ch/en/). It currently hosts a major exhibition, Mondes Imparfaits/Imperfect Worlds, on the famous Belgian comics series, The Obscure cities, by François Schuiten and Benoît Peeters.
I was very jealous of this book’s title, which immediately caught my eye (the dust cover, available in three colors, is no less intriguing) and now, after reading it, I am even more than jealous of the author since Flintstone Modernism is a great read and a brilliant example of the holistic approach of art and history that represents, for me, the best of cultural studies.