The Mediality Of Sugar

The Mediality of Sugar probes the potential of reading sugar as a mediator across some of the disciplinary distinctions in early twenty-first century research in the arts, literature, architecture, and popular culture. Selected artistic practices and material cultures of sugar across Europe and the Americas from the sixteenth to the twenty-first century are investigated and connected to the transcontinental and transoceanic history of the sugar plants cane and beet, their botanical and cultural dissemination, and global sugar capital and trade under colonialism and in decoloniality. The collection contributes to the vision of a Transnational and Postdisciplinary Sugar Studies.

This volume addresses controversies connected to the testing of the capacities and potentials of mediums. Today we commonly associate the term "medium" with the technical communication between transmitters and receivers. Yet this term likewise applies to those who cooperate with agencies that exceed the presumed domain of the material world. Insofar as one presumes a division between distinctly opposed categories of religion and the secular, technical media tend to be associated with the secular and human (trance) mediums tend to be associated with religion after 1900. This volume concerns the ways in which the term medium still marks an overlapping of – and thus problematizes – the aforementioned division between religion and the secular, the personal and the technological. The term medium carries with it a seed of doubt that is itself inseparable from investment in the medium's power: insofar as they communicate with an "other" realm, mediums offer the hope and promise of new possibilities and improved efficiency, and thus of a better life; yet they have simultaneously been under suspicion of altering (or even inventing) the messages they communicate. It is due to this combination of promise and suspicion that "mediumism" has tended to evoke scientific, religious, and moral controversies. Thus, we can speak of a "mediumistic trial" – that is, a process in which a medium is put to the test concerning its potentials and trustworthiness. Around 1800, experts were asked if a modern secular institution would be capable of inspiring, domesticating or excluding trance mediumship. This question has stayed with us ever since, and the answers have remained inconclusive. That is why the past and present of mediumship may be asked to elucidate each other.

A fascinating persuasive history of how sugar has shaped the world, from European colonies to our modern diets In this eye-opening study, Sidney Mintz shows how Europeans and Americans transformed sugar from a rare foreign luxury to a commonplace necessity of modern life, and how it changed the history of capitalism and industry. He discusses the production and consumption of sugar, and reveals how closely interwoven are sugar's origins as a "slave" crop grown in Europe's tropical colonies with is use first as an extravagant luxury for the aristocracy, then as a staple of the diet of the new industrial proletariat. Finally, he considers how sugar has altered work patterns, eating habits, and our diet in modern times. "Like sugar, Mintz is persuasive, and his detailed history is a real treat." -San Francisco Chronicle

Fictions of history and historiopoetic performances of the past -- Digging, rep & rev-ing, faking: Suzan-Lori Parks's historiopoetic praxis -- A sidelong glance at history: unreliable narration and the silhouette as blickmaschine in Kara Walker -- Stereotypes and theatricality: (Re)staging Black Venus -- Coda: wither historiopoiesis?

This volume offers a socio-technical exploration of Artificial Intelligence (AI) and the way it reflects and reproduces certain normative representations of gender and sexuality, to ultimately guide more diverse and radical discussions of life with digital technologies. Moving beyond the examination of empirical examples and technical solutions, the book approaches the relationship between queerness and AI from a theoretical perspective that posits queer theory as central to understanding AI differently. The chapters pose questions about the politics and ethics of machine embodiments and data imaginaries on the one hand, and about technical possibilities for a production of social identities characterised by shifting diversity and multiplicity on the other, as they are mediated by and through digital technologies. Transgressing disciplinary boundaries to engage a diversity of conceptual tools, critical approaches, and theoretical traditions, this book will be an important resource for students and researchers of gender and sexuality, new media and digital cultures, cultural theory, art and visual culture, and AI. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution (CC-BY) 4.0 license.

In Modern Architecture, Empire, and Race in Fascist Italy, Brian L. McLaren examines the architecture of the late-Fascist era in relation to the various racial constructs that emerged following the occupation of Ethiopia in 1936 and intensified during the wartime.

Conceptualism and Materiality. Matters of Art and Politics underscores the significance of materials and materiality within Conceptual art and conceptualism more broadly. It challenges the notion of conceptualism as an idea-centered, anti-materialist enterprise, and highlights the political implications thereof.

This volume explores the many facets and ongoing transformations of our visual identities in the twentieth and twenty-first centuries. Its chapters engage with the constitution of personal, national and cultural identities at the intersection of the verbal and the visual across a range of media. They are attentive to how the medialities and (im)materialities of modern image culture inflect our conceptions of identity, examining the cultural and political force of literature, films, online video messages, rap songs, selfies, digital algorithms, social media, computer-generated images, photojournalism and branding, among others. They also reflect on the image theories that emerged in the same time span—from early theorists such as Charles S. Peirce to twentieth-century models like those proposed by Roland Barthes and Jacques Derrida as well as more recent theories by Jacques Rancière, W. J. T. Mitchell and others. The contributors of Imaging Identity come from a wide range of disciplines including literary studies, media studies, art history, tourism studies and semiotics. The book will appeal to an interdisciplinary readership interested in contemporary visual culture and image theory.