Creating Public Paradise

Result of a conference organised by the Ministry of Education, Culture and Science and the Netherlands Public Library Association, on the occasion of the Dutch presidency of the Council of Europe on the 18th and 19th of March 2004 in The Hague and Apeldoorn. New functions and forms of public libraries in the 21st century were the central theme about which more than 150 participants of over 35 countries discussed. It was an expert meeting of governmental policy makers as well as professionals from the library field, and it includes library building and city planning, new public library concepts and its reflection in attractive and sustainable design and public library building. Consists of lectures, recommendations to the Council of Europe, seminar, survey reports on the situation of public libraries in European countries.

This book presents international librarianship and library science through insightful and well written chapters contributed by experts and scholars from six regions of the world. The role of public, academic, special, school libraries, as well as library and information science education are presented from the early development to the present time. Its lively, readable approach will help the reader to understand librarianship in Africa, Asia, Australia and New Zealand, Europe, Latin America and the Caribbean, the Middle East, and North America. Edited by Ismail Abdullahi, Professor of Global Library and Information Science, this book is a must-read by library science students and teachers, librarians, and anyone interested in Global Librarianship.

‘Deserves to be an instant classic. I haven’t loved a book this much in a long time . . . What Strange Paradise . . . reads as a parable for our times . . . Such beautiful writing . . . This is an extraordinary book.’ – New York Times From the widely acclaimed author of American War, Omar El Akkad, a beautifully written, unrelentingly dramatic and profoundly moving novel that brings the global refugee crisis down to the level of a child’s eyes. More bodies have washed up on the shores of a small island. Another over-filled, ill-equipped, dilapidated ship has sunk under the weight of its too-many passengers: Syrians, Ethiopians, Egyptians, Lebanese, Palestinians, all of them desperate to escape untenable lives in their homelands. And only one had made the passage: nine-year-old Amir, a Syrian boy who has the good fortune to fall into the hands not of the officials, but of Vänna: a teenage girl, native to the island, who lives inside her own sense of homelessness in a place and among people she has come to disdain. And though Vänna and Amir are complete strangers and don’t speak a common language, Vänna determines to do whatever it takes to save him. In alternating chapters, we learn the story of Amir’s life and of how he came to be on the ship; and we follow the duo as they make their way towards a vision of safety. But as the novel unfurls, we begin to understand that this is not merely the story of two children finding their way through a hostile world. Omar El Akkad’s What Strange Paradise is the story of our collective moment in this time: of empathy and indifference, of hope and despair – and of the way each of those things can blind us to reality, or guide us to a better one.

The definitive firsthand account of California’s Camp Fire, the nation’s deadliest wildfire in a century, Paradise is a riveting examination of what went wrong and how to avert future tragedies as the climate crisis unfolds. “A tour de force story of wildfire and a terrifying look at what lies ahead.”—San Francisco Chronicle (Best Books of the Year) On November 8, 2018, the people of Paradise, California, awoke to a mottled gray sky and gusty winds. Soon the Camp Fire was upon them, gobbling an acre a second. Less than two hours after the fire ignited, the town was engulfed in flames, the residents trapped in their homes and cars. By the next morning, eighty-five people were dead. As a reporter for the San Francisco Chronicle, Lizzie Johnson was there as the town of Paradise burned. She saw the smoldering rubble of a historic covered bridge and the beloved Black Bear Diner and she stayed long afterward, visiting shelters, hotels, and makeshift camps. Drawing on years of on-the-ground reporting and reams of public records, including 911 calls and testimony from a grand jury investigation, Johnson provides a minute-by-minute account of the Camp Fire, following residents and first responders as they fight to save themselves and their town. We see a young mother fleeing with her newborn; a school bus full of children in search of an escape route; and a group of paramedics, patients, and nurses trapped in a cul-de-sac, fending off the fire with rakes and hoses. In Paradise, Johnson documents the unfolding tragedy with empathy and nuance. But she also investigates the root causes, from runaway climate change to a deeply flawed alert system to Pacific Gas and Electric’s decades-long neglect of critical infrastructure. A cautionary tale for a new era of megafires, Paradise is the gripping story of a town wiped off the map and the determination of its people to rise again.

What is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.

This anthology elucidates the historical, global, and regional connections, as well as current manifestations, of socially engaged public art (SEPA) in East Asia. It covers case studies and theoretical inquiries on artistic practices from Hong Kong, Japan, mainland China, South Korea, and Taiwan with a focus on the period since the 2000s. It examines how public art has been employed by artists, curators, ordinary citizens, and grassroots organizations in the region to raise awareness of prevailing social problems, foster collaborations among people of varying backgrounds, establish alternative value systems and social relations, and stimulate action to advance changes in real life situations. It argues that through the endeavors of critically-minded art professionals, public art has become artivism as it ventures into an expanded field of transdisciplinary practices, a site of new possibilities where disparate domains such as aesthetics, sustainability, placemaking, social justice, and politics interact and where people work together to activate space, place, and community in a way that impacts the everyday lives of ordinary people. As the first book-length anthology on the thriving yet disparate scenes of SEPA in East Asia, it consists of eight chapters by eight authors who have well-grounded knowledge of a specific locality or localities in East Asia. In their analyses of ideas and actions, emerging from varying geographical, sociopolitical, and cultural circumstances in the region, most authors also engage with concepts and key publications from scholars which examine artistic practices striving for social intervention and public participation in different parts of the world. Although grounded in the realities of SEPA from East Asia, this book contributes to global conversations and debates concerning the evolving relationship between public art, civic politics, and society at large.

Public History: A Textbook of Practice is a guide to the many challenges historians face while teaching, learning, and practicing public history. Historians can play a dynamic and essential role in contributing to public understanding of the past, and those who work in historic preservation, in museums and archives, in government agencies, as consultants, as oral historians, or who manage crowdsourcing projects need very specific skills. This book links theory and practice and provides students and practitioners with the tools to do public history in a wide range of settings. The text engages throughout with key issues such as public participation, digital tools and media, and the internationalization of public history. Part One focuses on public history sources, and offers an overview of the creation, collection, management, and preservation of public history materials (archives, material culture, oral materials, or digital sources). Chapters cover sites and institutions such as archival repositories and museums, historic buildings and structures, and different practices such as collection management, preservation (archives, objects, sounds, moving images, buildings, sites, and landscape), oral history, and genealogy. Part Two deals with the different ways in which public historians can produce historical narratives through different media (including exhibitions, film, writing, and digital tools). The last part explores the challenges and ethical issues that public historians will encounter when working with different communities and institutions. Either in public history methods courses or as a resource for practicing public historians, this book lays the groundwork for making meaningful connections between historical sources and popular audiences.

This book describes experiments in innovation, design, and democracy, undertaken largely by grassroots organizations, non-governmental organizations, and multi-ethnic working-class neighborhoods. These stories challenge the dominant perception of what constitutes successful innovations. They recount efforts at social innovation, opening the production process, challenging the creative class, and expanding the public sphere. The cases considered include a collective of immigrant women who perform collaborative services, the development of an open-hardware movement, grassroots journalism, and hip-hop performances on city buses. They point to the possibility of democratized innovation that goes beyond solo entrepreneurship and crowdsourcing in the service of corporations to include multiple futures imagined and made locally by often-marginalized publics.