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This book is the second volume of texts curated specifically for The Funambulist since 2011. The editorial line of this second series of twenty-six essays is dedicated to philosophical and political questions about bodies. This choice is informed by Léopold Lambert’s own interest in the (often violent) relation between the designed environment and bodies. Corporeal politics do not exist in a void of objects, buildings and cities; on the contrary, they operate through the continuous material encounters between living and non-living bodies. Several texts proposed in this volume examine various forms of corporeal violence (racism, gender-based violence, etc.). This examination, however, can only exist in the integration of the designed environment’s conditioning of this violence. As Mimi Thi Nguyen argues in the conclusion of this book’s first chapter, “the process of attending to the body — unhooded, unveiled, unclothed — cannot be the solution to racism, because that body is always already an abstraction, an effect of law and its violence.” Although the readers won’t find indications about the disciplinary background of the contributors — the “witty” self-descriptions at the end of the book being preferred to academic resumés — the content of the texts will certainly attest to the broad imaginaries at work throughout this volume. Dialogues between dancers and geographers, between artists and biohackers, between architects and philosophers, and so forth, provide the richness of this volume through difference rather than similarity. The Funambulist Papers are published by the CTM Documents Initiative imprint, Center for Transformative Media, Parsons School of Design, The New School. CTM is a transdisciplinary media research initiative bridging design and the social sciences, and dedicated to the exploration of the transformative potential of emerging technologies upon the foundational practices of everyday life across a range of settings.

This book is a collection of thirty-five texts from the first series of guest writers’ essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert’s own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog’s editorial line. Overall, two ‘families’ of texts emerged, collected in two distinct parts in this volume. The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog’s editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect’s syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise.

This open access book constitutes the proceedings of the 27th International Conference on Fundamental Approaches to Software Engineering, FASE 2024, held in conjunction with ETAPS 2024 which took place in Luxembourg in April 2024. The 14 full papers included in this book were carefully reviewed and selected from 41 submission. The proceedings also include 5 short papers from the Test-Comp 2024 event that was hosted by FASE. They deal with the broad field of software engineering, focusing on requirements, design, architecture, modeling, applications of AI to software engineering and software engineering for AI-based systems, quality, model-driven engineering, processes, and software evolution.

In his 1979 essay The Postmodern Condition: A Report on Knowledge philosopher Jean-François Lyotard noted that the advent of the computer opened up a stage of progress in which knowledge has become a commodity. Modernity and postmodernity appear as two stages of a process resulting from the conflict of science and narrative. As science attempts to distance itself from narrative, it must create its own legitimacy. This paper takes up this challenge with a focus on the question of imagery. The image is precisely what modern science seeks to free itself from in its quest for absolute transparency. This transparency is examined from the perspective of architecture, drawing on arguments from philosophy, quantum mechanics, theology and information theory. Natural science in the context of postmodernism Quantum mechanics and information theory New volume in the Applied Virtuality Book Series ; In his 1979 essay The Postmodern Condition: A Report on Knowledge philosopher Jean-François Lyotard noted that the advent of the computer opened up a stage of progress in which knowledge has become a commodity. Modernity and postmodernity appear as two stages of a process resulting from the conflict of science and narrative. As science attempts to distance itself from narrative, it must create its own legitimacy. This paper takes up this challenge with a focus on the question of imagery. The image is precisely what modern science seeks to free itself from in its quest for absolute transparency. This transparency is examined from the perspective of architecture, drawing on arguments from philosophy, quantum mechanics, theology and information theory. Natural science in the context of postmodernism Quantum mechanics and information theory New volume in the Applied Virtuality Book Series, Naturwissenschaft im Zeichen der Postmoderne Quantenmechanik und Informationstheorie Neuer Band der Reihe Applied Virtuality Book Series In seinem 1979 erschienenen Essay Das postmoderne Wissen stellte Jean-François Lyotard fest, dass die Einführung des Computers ein Stadium des Fortschritts definiert, in dem Wissen zur Ware wird. Moderne und Postmoderne erscheinen als zwei Stadien eines Prozesses, der aus dem Konflikt der Wissenschaft mit den Narrativen resultiert: Während die Wissenschaft versucht, sich vom Narrativen zu distanzieren, muss sie ihre eigene Legitimation schaffen. Die vorliegende Abhandlung greift die Herausforderung im Zeichen des Bildes auf. Das Bild ist genau das, wovon sich die moderne Wissenschaft auf der Suche nach absoluter Transparenz zu befreien versucht. Diese Transparenz wird unter architektonischen Gesichtspunkten untersucht, die von der Philosophie bis zur Quantenmechanik, von der Theologie bis zur Informationstheorie reichen.

This book contains academic papers and posters of the Cumulus Antwerp conference, held in Antwerp on 12-15 April 2023. The Cumulus community, designers, artists, and educators were invited to submit contributions on how culture and creative industry can offer resilience, consolation, and innovation models on human scale, in line with the conference theme ‘Connectivity and Creativity in times of Conflict’.

Transacting as Art, Design and Architecture: A Non-Commercial Market re-performs the original event #TransActing: A Market of Values as a printed text with the ambition of investing in the published word and image at least some of the original market’s depth and liveness. Holding fast to the experimental ethos of Critical Practice, this anthology does not shy away from risk when the aim is expanding the fields of art, design and architectural research. The authors’ distinct but also overlapping forms (practical, poetic, analytical, etc.) track with the plurality of voices the processes that have nurtured the cluster as it has worked internationally for more than a decade to produce unique projects.The book opens with contributions that reflect on TransActing as collaborative practice-based research. The introduction contextualizes this popup market within London’s long history of local marketplaces. Cued by emerging government policy on market sustainability, the tripartite of place, people and prosperity helps to frame TransActing. Taking a different approach, a partial self-portrait of Critical Practice traces TransActing’s becoming over more than a decade of activity and five years of research on value. This is followed by an account of the market’s physical infrastructure: the prototyping of bespoke stalls which were built from recycled materials, an approach inspired by an early example of open-source furniture design. This comes to life in the next section: polyphonic observations on the stalls in use and the market more generally. The stallholders’ reflections capture the experience of those directly involved and are richly illustrated with images of or related to their stalls. The second part of Transacting as Art, Design and Architecture is composed of commissioned texts to contextualise the market by weaving together references from various fields. These include celebrating the value system of TransActing, especially its critique econometrics. Closely connected to the latter, which was occasioned by Critical Practice’s tenth anniversary, is the subsequent paper's consideration of invisible, feminized labour, which is as undervalued as it is indispensable to cultural production. Taking a slightly different tack is the use of architectural theory (past and present) to trace the transforming nature of the public market, especially as an arena of consumerism. This is followed by an account that looks at the experience of TransActing from the perspective of its local currency. This story is followed by a conversation on the art market and/or the markets of art. This brings the reader to a manifesto-like text that calls for solidarity through publishing, understood as the co-production of meaning through a distributed social process. The penultimate contribution to this collection considers TransActing as a built environment with reference to the market’s shelters and platforms. Finally, a glossary rounds off and opens up the publication as a resource. This compilation of key terms adds nuance to the language used throughout this publication to indicate its resonance in the discourse of Critical Practice.The collection aims to prioritize practice-based insights as an alternative to knowledge-based ones. In this way the book aims to be a refreshing take, one that moves art-research discussions beyond the creation of knowledge. As such, this book will appeal to all those involved in the ‘research turn’ in contemporary cultural production, including those working in institutions and organizations, especially ones with strong community engagement programmes, as well as independent practitioners working in social and socially engaged practice.Primary readership will be practitioners of art, design, curating and architecture and students studying in these fields. The secondary audience will include cultural producers, theorists, educators and others who are interested in how art and other forms of creative practice can challenge the ‘usual’ financial circuits of value and open up alternatives.