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Forming a comprehensive picture of the multiple processes, regulations, institutions, technologies, networks, and operations that we have come to understand as the distributed infrastructural arena in which we act, yield, and plot is a perennial challenge. Over the past decade, a growing number of artists, theorists, curators, and researchers have moved from "institutional critique" to "infrastructural critique," or toward "infrastructural speculation," in which they explore the potential of creative infrastructure-related visions and scenarios. In attempts to counter the impasse of "the cancelled future," art has immersed itself in systemic critiques and propositional thinking, addressing major challenges, such as the rampant financialization of the economy and runaway climate change.From questions around space settlements to the possibility of repurposing blockchain infrastructures and financial instruments for redistributive purposes, and from the diagrammatic potential of infrastructural thinking in artistic practices to scenario planning and economic strategizing, this collection of new essays brings together critical analysis from a broad group of contributors engaged in the revisioning of our infrastructural futures. Their interrogations span local and global relationalities, historical and political legacies, as well as future-oriented infrastructural hypotheses.

Art criticism

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Art criticism. --- Art, Greek.

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Comme en préambule à son œuvre littéraire, Paul Nizon a écrit un certain nombre de critiques d'art. De Goya à Hodler en passant par Turner, de Picasso et Malevitch à Morandi, Rothko et Giacometti, en passant par Soutine et Miró, l'écrivain y dessine, comme en passant, sa propre existence avec l'art et en l'art.

Art, Modern --- Art criticism --- History.

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"Ce volume collectif s'attache à la relation entre poésie et peinture, du romantisme au contemporain, autour de deux axes : "La critique d'art" et "Le poème d'art". Dans un premier temps, les contributions cernent la réinvention de la critique d'art par les poètes. À travers des exemples majeurs des XIXe et XIXe siècles, il s'agit de sonder les caractéristiques de cette prose d'idées esthétiques, qui articule réception et réflexion, mais aussi observation et imagination, valorisant la prose poétique, en des ekphraseis singulières, qui interrogent en miroir la poésie danses virtualités plastiques. Le va-et-vient entre prose et poésie nourrit une critique d'art dont la portée créatrice aboutit à la collaboration du poète et du peintre, phénomène essentiel jusqu'à nos jours qui prend toutes formes de dialogues, recherches typographiques, collages ou livres à figures. Ces compagnonnages entre les expériences créatrices contribuent, par réfraction, à singulariser la critique d'art des poètes par rapport à la critique d'art spécialisée. Dans un second temps, les textes réunis ici se proposent d'évaluer le retour de ces pratiques dans la poésie, afin d'établir les enjeux et les modalités du poème d'art, un poème inspiré par le(s) tableau(x), englobant la rêverie esthétique, un genre à part, hybride et vagabond, une forme de poème critique où l'iconique entre en résonance avec la réflexivité de la poésie elle-même. L'idée même de poème trouve alors à se renouveler, loin des clivages traditionnels, à la faveur d'un déplacement du paradigme musical vers le paradigme pictural, jusqu'à émaner parfois de poètes-peintres ou de peintres-poètes."--Page 4 of cover.

Art criticism --- Art criticism --- Art and literature --- Art and literature --- History --- History --- History --- History

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According to Sylvia Wynter, "We humans cannot pre-exist our origin myths any more than a bee can pre-exist its beehive." Such *representations of origin* comprise cosmogonies through which each human group responds to the question of who-we-are. The function of these stories is to initiate the members of societies into *sociogenic/cosmogonic replicator codes*, which underwrite the social mechanisms of in- and ex-clusion as well as the production of meaning.

Drawing inspiration from Wynter's companion essays "The Ceremony Must Be Found" (1984) and "The ceremony Found" (2015), *Ceremony (Burial of an Undead World)* engages closely with her thought to argue that "modernity," contrary to its own self-image as rational and secular, is also determined by origin myths that emerged through the mutations of Christian cosmology following the dawn of capitalism in the late Middle Ages. Furthermore, modernity is predicated on a series of "underside costs": from dispossession and slavery to extractivism and climate change.

Featuring over two dozen unique contributions and commentaries upon Wynter's propositions from artists and writers, this publication constitutes a critical reference point for those seeking to construct and envisage a "counter-cosmogony"- a revolutionary turning/overturning of the world-systemic conditions that currently endanger planetary life.

ceremonies --- capitalism --- art criticism --- myths --- Wynter, Sylvia --- levensfilosofie