Sometimes, the maelstrom of a crisis can be captured in a single image. The image of the mundane, barely noticeable movement of an urban dweller as they go about their everyday life. Athens and the War on Public Space commences from images just like this one, collected over a two-year period of research (2012–2014) in Athens during a time of severe financial and political crisis. For the author-curators of this volume, public space became a light-sensitive surface upon which they could begin to map the material imprints of the most structural and violent characteristics of the crisis, and their research spread in different directions, tracking the role of infrastructure and the shifts the financial crisis brought about upon built environments, the violent manifestations of the official anti-migrant policy, the rise of racism, the imposition of the emergency upon public space, and the phenomenology of mass transit.Public space can…tell us much about the authority of meaning, how this can only be articulated through lines on the ground, lines that are strict, if often invisible. The aim of this book is not to contribute yet another holistic explanation of the crisis. What it wishes to do is to put these footprints together, to understand how the abstract world of financial jargon and policy places its stamp upon the cityscape of the crisis-hit city par excellence: Athens.The book first provides a chronological, visual timeline highlighting major events and their impacts on public spaces from the beginnings of the global financial crisis in 2008 until mid-2014. This is followed by an essay by Christos Filippidis, “Biopolitical Narratives against a White Background: Medical Police as City Cartographer,” which analyses the ways in which the collective presence of migrants in Athenian public space was criminalised through policies of informal bans on public gatherings under the pretext of hygienic arguments. In the following chapter, “Mapping Racist Violence,” Klara Jaya Brekke provides an analogue version of the online Crisis-Scape map of incidences of violent racist attacks experienced by migrants in Greece during the crisis. Antonis Vradis contributes two chapters — “The Utter Violence of the Unuttered” and “Metronome” — that reflect, in textual and visual (photographic) modes, on the Athenian metro as a point of departure for revealing and understanding the antagonisms and tensions that grew in this quintessential everyday space as the crisis deepened. In the final chapter, “Performing the State of Emergency,” Christos Filippidis analyses the police attacks launched against squats and occupied social centers in Athens in early 2013, which he argues were attack against specific facets of public space.Athens and the War on Public Space is a compilation of work done during the larger Crisis-Scape project. The team comprised Klara Jaya Brekke, Dimitris Dalakoglou, Ross Domoney, Christos Filippidis, and Antonis Vradis.

ABOUT THE AUTHOR

Klara Jaya Brekke works across the fields of design, political economy and technology and is currently writing a Ph.D. at Durham University, UK. Her work can be viewed at Distributing Chains.Christos Filippidis is an urban securitization/militarization researcher, based in Athens, Greece.Antonis Vradis works in the Department of Geography, Loughborough University, UK. He is an associate editor at Political Geography and senior editor at CITY. He blogs at The Slow.

Die Fotografie hat sich in den letzten Jahrzehnten zu einer der populärsten Kunstgattungen entwickelt. Dies zeigt sich nicht zuletzt auch am Erfolg der zeitgenössischen Fotografie auf dem Kunstmarkt, wo einzelne Abzüge mittlerweile für Millionenbeträge gehandelt werden. Diese hohe finanzielle Wertschätzung einzelner Fotografien wäre undenkbar, würde das Potenzial der Fotografie zur nahezu unendlichen Reproduktion tatsächlich ausgeschöpft. Im Gegenteil hat sich im Bereich der zeitgenössischen Fotokunst die Praxis etabliert, Fotografien nur in sogenannten „limitierten Auflagen“ aufzulegen, bei denen teilweise sogar mit einstelligen Auflagenhöhen gearbeitet wird. Die vorliegende Dissertation untersucht die rechtlichen Fragen im Zusammenhang mit solchen Auflagenlimitierungen und geht dabei insbesondere der Frage nach, ob solche Exklusivitätsversprechen“ rechtlich bindend sind und somit beispielsweise von einem Sammler eingeklagt werden könnten.

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Edited and with an introduction by Daniel Morgan
Foreword by Tom Gunning

In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920–1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called “cels”) and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.

“A thrilling read—one of the most exuberant, brilliant books I’ve come across in a very long time. I have lived with many of the cartoons Hannah Frank analyzes for pretty much my entire life and never suspected the hidden life or lives within their images, the inscription of histories (social, personal, technological, aesthetic) in which, it turns out, they abound.” SCOTT BUKATMAN, Stanford University

“Frank’s work is deeply refreshing in its ability to think across and weave together different strands of the debates about animation that have arisen to date. These are big conversations, and Frank is impressive in her ability to think lucidly across them in such fluent and productive ways.” KAREN REDROBE, University of Pennsylvania

HANNAH FRANK (1984–2017) was Assistant Professor of Film Studies at the University of North Carolina Wilmington. Her work has been published in Critical Quarterly and Animation: An Interdisciplinary Journal, and she contributed to A World Redrawn: Eisenstein and Brecht in Hollywood.

DANIEL MORGAN is Associate Professor of Cinema and Media Studies at the University of Chicago and is author of Late Godard and the Possibilities of Cinema.

Aby M. Warburg (1866–1929) is recognized not only as one of the century’s preeminent art and Renaissance historians but also as a founder of twentieth-century methods in iconology and cultural studies in general. Warburg’s 1923 lecture, first published in German in 1988 and now available for the first time in English translation, Michael Steinberg offers offers at once a window on his career, a formative statement of his cultural history of modernity, and a document in the ethnography of the American Southwest. This edition includes thirty-nine photographs, many of them originally presented as slides with the speech, and a rich interpretive essay by the translator.

Images from the Region of the Pueblo Indians of North America translates Warburg’s seminal study of the “serpent ritual” of the Hopi people, which grew out of a trip to the American Southwest undertaken by Warburg in 1895–1896.

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