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NEW IN THE BOOKSHOP: 1975 : DIARIO DI STRADA DANIELA COMANI (2017) - In 1975 cars were made from metal, glass, some chrome and a bit of plastic. The majority had front and rear bumpers. Base models were sold without radios. GPS, which seems so crucial today, hadn’t yet been invented. As a child in the 70’s Daniela Comani travelled with her parents in their car. She sat in the backseat and her favorite pastime was to list the cars that drove by, jotting down the name of the manufacturer and brand, with some additional information to make note of particular models, like “Giulia”, “500” or “Dyane”. - 40 years later she found one of her old notebooks: a planner from 1975 with her list of cars. She researched photographs of the cars that were on the road in the 70’s, finding neutral images selected by the manufacturers for brochures. Some of these are icons of the 70’s and they define the spirit of the age, like the films, fashion and music of the time. - This project becomes an interesting social and historical study on style in the pre-globalized world and, above all, a kind of self-portrait. - Published by Archive Books. - Available via our website and in the bookshop. - #worldfoodbooks #1975 #danielacomani #archivebooks (at WORLD FOOD BOOKS)

NEW IN THE BOOKSHOP: 1975 : DIARIO DI STRADA DANIELA COMANI (2017) - In 1975 cars were made from metal, glass, some chrome and a bit of plastic. The majority had front and rear bumpers. Base models were sold without radios. GPS, which seems so crucial today, hadn’t yet been invented. As a child in the 70’s Daniela Comani travelled with her parents in their car. She sat in the backseat and her favorite pastime was to list the cars that drove by, jotting down the name of the manufacturer and brand, with some additional information to make note of particular models, like “Giulia”, “500” or “Dyane”. - 40 years later she found one of her old notebooks: a planner from 1975 with her list of cars. She researched photographs of the cars that were on the road in the 70’s, finding neutral images selected by the manufacturers for brochures. Some of these are icons of the 70’s and they define the spirit of the age, like the films, fashion and music of the time. - This project becomes an interesting social and historical study on style in the pre-globalized world and, above all, a kind of self-portrait. - Published by Archive Books. - Available via our website and in the bookshop. - #worldfoodbooks #1975 #danielacomani #archivebooks (at WORLD FOOD BOOKS)

NEW IN THE BOOKSHOP: 1975 : DIARIO DI STRADA DANIELA COMANI (2017) - In 1975 cars were made from metal, glass, some chrome and a bit of plastic. The majority had front and rear bumpers. Base models were sold without radios. GPS, which seems so crucial today, hadn’t yet been invented. As a child in the 70’s Daniela Comani travelled with her parents in their car. She sat in the backseat and her favorite pastime was to list the cars that drove by, jotting down the name of the manufacturer and brand, with some additional information to make note of particular models, like “Giulia”, “500” or “Dyane”. - 40 years later she found one of her old notebooks: a planner from 1975 with her list of cars. She researched photographs of the cars that were on the road in the 70’s, finding neutral images selected by the manufacturers for brochures. Some of these are icons of the 70’s and they define the spirit of the age, like the films, fashion and music of the time. - This project becomes an interesting social and historical study on style in the pre-globalized world and, above all, a kind of self-portrait. - Published by Archive Books. - Available via our website and in the bookshop. - #worldfoodbooks #1975 #danielacomani #archivebooks (at WORLD FOOD BOOKS)

NEW IN THE BOOKSHOP: THE PSYCHOPATHOLOGIES OF COGNITIVE CAPITALISM PART THREE (2017) - Contributions by Meena Alexander, Amanda Beech, Franco “Bifo” Berardi, Ray Brassier, David Burrows, Tyler Coburn, Jacquelene Drinkall, Mark Fisher, Bronac Ferran, Matthew Fuller, Liam Gillick, Melanie Gilligan, Scott Lash and Anthony Fung, Lambros Malafouris, Anna Munster, Warren Neidich, Dimitris Papadopoulos, Luciana Parisi, John L. Protevi, Howard Slater, Kerstin Stakemeier, Ryan Trecartin, Marina Vishmidt. - The previous two books examined the imminent subsumption of the economy by information technologies, resulting in a mutation of forms of post-Fordist capitalist accumulation. “Flexploitation” of labor processes and flexible specialization resulting from the evolving relation between management and labor, just-in-time production and consumption, rapid acceleration in the pace of product innovation, faster product turnover times, computer and robotic interventions an increase in the complexity of supply chains – all these combined to form the special assemblage that would define what we can now regard as the early phase of Cognitive Capitalism. The second volume started to sketch out its transformation from a form of subsumption characterized by immateriality to one that is speculative and material. This latter phase is the focus of the present volume, which concentrates on the plastic material brain, its hardware constituted by neurons and glial cells as well as its software, the dynamic rhythmicities that integrate electro-magnetic discharges along its circuits in response to events occurring inside and outside the skull – the body and its world. In this phase, the material brain in conjunction with the accelerated world with which it is imbricated becomes the site of an ontogenic battle between the forces of normalization and governmentalization on the one hand, and emancipation on the other, with consequences for the processes of individuation and collectivization. - Edited by Warren Neidich Design by Archive Appendix - Available via our website and in the bookshop tomorrow. - #worldfoodbooks #cognitivecapitalism #archivebooks (at WORLD FOOD BOOKS)

OPEN TODAY 11-5 PM. NEW IN THE BOOKSHOP: TROPICÁLIA AND BEYOND : DIALOGUES IN BRAZILIAN FILM HISTORY (2017) - Although the short-lived Brazilian cultural movement known as Tropicália is most commonly associated with music and the visual arts, its sense of playfulness and strategies of appropriation have stimulated many of the country’s filmmakers from the 1960s to the present. The term was first given to a pair of installations by Hélio Oiticica, a song by Caetano Veloso, and an LP released in 1968, featuring artists such as Gilberto Gil, Gal Costa and the psychedelic band Os Mutantes. But according to Veloso, the catalyst for the flurry of creative activity at this time was Glauber Rocha’s landmark film Terra em Transe (Land in Anguish, 1967). And, while Tropicália was cut down in its prime by Brazil’s repressive military dictatorship, its revolutionary gestures continued to make a mark on cinema in the following decades. Fifty years after its emergence, what is the legacy of Tropicália today? And what is its effect on filmmaking in Brazil? This publication brings together a range of filmmakers and scholars past and present to consider these questions, and to offer multiple perspectives on the history of a major period in Brazilian cultural history. - Contributions by Carlos Adriano, Augusto Barros, Ela Bittencourt, Ivan Cardoso, José Celso Martinez Corrêa, Max Jorge Hinderer Cruz, Albert Elduque, Helena Ignez, Scott MacDonald, Rubens Machado Jr., Pedro Neves Marques, Ricardo Miranda, Jorge O Mourão, Noilton Nunes, Arthur Omar, Eder Santos Jr., Rogério Sganzerla, Robert Stam, Ana Vaz, Caetano Veloso, Ismail Xavier, Bruce Yonemoto. - Available in the bookshop today and via our website. - #worldfoodbooks #tropicalia #archivebooks (at WORLD FOOD BOOKS)

OPEN TODAY 11-5 PM. NEW IN THE BOOKSHOP: TROPICÁLIA AND BEYOND : DIALOGUES IN BRAZILIAN FILM HISTORY (2017) - Although the short-lived Brazilian cultural movement known as Tropicália is most commonly associated with music and the visual arts, its sense of playfulness and strategies of appropriation have stimulated many of the country’s filmmakers from the 1960s to the present. The term was first given to a pair of installations by Hélio Oiticica, a song by Caetano Veloso, and an LP released in 1968, featuring artists such as Gilberto Gil, Gal Costa and the psychedelic band Os Mutantes. But according to Veloso, the catalyst for the flurry of creative activity at this time was Glauber Rocha’s landmark film Terra em Transe (Land in Anguish, 1967). And, while Tropicália was cut down in its prime by Brazil’s repressive military dictatorship, its revolutionary gestures continued to make a mark on cinema in the following decades. Fifty years after its emergence, what is the legacy of Tropicália today? And what is its effect on filmmaking in Brazil? This publication brings together a range of filmmakers and scholars past and present to consider these questions, and to offer multiple perspectives on the history of a major period in Brazilian cultural history. - Contributions by Carlos Adriano, Augusto Barros, Ela Bittencourt, Ivan Cardoso, José Celso Martinez Corrêa, Max Jorge Hinderer Cruz, Albert Elduque, Helena Ignez, Scott MacDonald, Rubens Machado Jr., Pedro Neves Marques, Ricardo Miranda, Jorge O Mourão, Noilton Nunes, Arthur Omar, Eder Santos Jr., Rogério Sganzerla, Robert Stam, Ana Vaz, Caetano Veloso, Ismail Xavier, Bruce Yonemoto. - Available in the bookshop today and via our website. - #worldfoodbooks #tropicalia #archivebooks (at WORLD FOOD BOOKS)

OPEN TODAY 11-5 PM. NEW IN THE BOOKSHOP: TROPICÁLIA AND BEYOND : DIALOGUES IN BRAZILIAN FILM HISTORY (2017) - Although the short-lived Brazilian cultural movement known as Tropicália is most commonly associated with music and the visual arts, its sense of playfulness and strategies of appropriation have stimulated many of the country’s filmmakers from the 1960s to the present. The term was first given to a pair of installations by Hélio Oiticica, a song by Caetano Veloso, and an LP released in 1968, featuring artists such as Gilberto Gil, Gal Costa and the psychedelic band Os Mutantes. But according to Veloso, the catalyst for the flurry of creative activity at this time was Glauber Rocha’s landmark film Terra em Transe (Land in Anguish, 1967). And, while Tropicália was cut down in its prime by Brazil’s repressive military dictatorship, its revolutionary gestures continued to make a mark on cinema in the following decades. Fifty years after its emergence, what is the legacy of Tropicália today? And what is its effect on filmmaking in Brazil? This publication brings together a range of filmmakers and scholars past and present to consider these questions, and to offer multiple perspectives on the history of a major period in Brazilian cultural history. - Contributions by Carlos Adriano, Augusto Barros, Ela Bittencourt, Ivan Cardoso, José Celso Martinez Corrêa, Max Jorge Hinderer Cruz, Albert Elduque, Helena Ignez, Scott MacDonald, Rubens Machado Jr., Pedro Neves Marques, Ricardo Miranda, Jorge O Mourão, Noilton Nunes, Arthur Omar, Eder Santos Jr., Rogério Sganzerla, Robert Stam, Ana Vaz, Caetano Veloso, Ismail Xavier, Bruce Yonemoto. - Available in the bookshop today and via our website. - #worldfoodbooks #tropicalia #archivebooks (at WORLD FOOD BOOKS)