László Moholy-Nagy, Vision in Motion (Chicago: Paul Theobald and Company, 1947), 64.
Jürgen Remane, “Chronostratigraphic correlations: their importance for the definition of geochronologic units,” Palaeogeography, Palaeoclimatology, Palaeoecology 196 (2003): 7–18. Quoted in A Geologic Time Scale, eds. Felix Gradstein, James Ogg, and Alan Smith (Cambridge: Cambridge University Press, 2004), 23.
Will Steffen, Paul J. Crutzen, and John R. McNeill, “The Anthropocene: Are Humans Now Overwhelming the Great Forces of Nature?” Ambio 36, no. 8 (2007).
Ibid., 617–18.
Moholy-Nagy, Vision in Motion, 58.
Ibid., 11
Ibid., 30. Moholy (or his posthumous editor, Sibyl Moholy-Nagy) falsely attributes the first quote to Korzybski himself; the source is in fact Oliver Bloodstein, “General Semantics and Modern Art,” ETC: A Review of General Semantics 1, no. 1 (1943): 16. It may also be pointed out that unlike Moholy, Bloodstein had no interest in any orientation with respect to any territory, except that of abstract modern art itself.
For his life and work in the period, see the exhibition catalogue Gyorgy Kepes: The MIT Years, 1945–1977 (Cambridge, MA: MIT Press Visual Arts Series, 1978).
György Kepes, The New Landscape in Art and Science (Chicago: Paul Theobald and Company, 1956), 173. The same passage is quoted by Reinhold Martin in the opening pages of The Organizational Complex: Architecture, Media and Corporate Space (Cambridge, MA: MIT Press, 2005), which is one of the key sources for the book by Orit Halpern discussed below.
Orit Halpern, Beautiful Data: A History of Vision and Reason since 1945 (Durham, NC: Duke University Press, 2014), 138.
Fredric Jameson, “Postmodernism, or The Cultural Logic of Late Capitalism,” New Left Review 1, no. 146 (1984): 83
See the article by Karl Grossman, “’No one died, no one's health was damaged’—Fukushima’s big lie,” The Ecologist, March 8, 2014 →. The text is only one of many intensely critical reactions to the World Health Organization’s 2014 declaration: “Outside the geographical areas most affected by radiation, even in locations within Fukushima prefecture, the predicted risks remain low and no observable increases in cancer above natural variation in baseline rates are anticipated.” See the report at →.
For the photograph and the story, see Ben Whitford, “Petcoke: the toxic black dust coming to a community near you,” The Ecologist, December 9, 2014 →.
For an excellent photo-reportage by Zbigniew Bzdak, see “Photos: Petroleum coke and the BP Whiting refinery,” Chicago Tribune, October 18, 2013 →.
Christopher Hatch and Matt Price, Canada’s Toxic Tar Sands: The Most Destructive Project on Earth (Toronto: Environmental Defence, 2008); pamphlet available at →.
Cf. Lorne Stockman et al., Petroleum Coke: The Coal Hiding in the Tar Sands (Washington, DC: Oil Change International, 2013); pamphlet available at →.
For a 2012 estimate of where tar sands oil was refined in the US, see →.
Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis: University of Minnesota Press, 2013).
Peter Haff, “Humans and technology in the Anthropocene: Six rules,” The Anthropocene Review 1, no. 2 (2014): 127.
For firsthand documentation of the conflict and a look at the activism and art developed in response to it, see the exhibition catalog Petcoke: Tracing Dirty Energy (Chicago: Museum of Contemporary Photography at Columbia College, 2016). An online map/archive, created by the author of this text and featured in the exhibition, attempts to situate the conflict within a larger play of spatial scales, while simultaneously grappling with the derealizing effects of the dominant interface aesthetic: see →.
For firsthand documentation of the conflict and a look at the activism and art developed in response to it, see the exhibition catalog Petcoke: Tracing Dirty Energy (Chicago: Museum of Contemporary Photography at Columbia College, 2016). An online map/archive, created by the author of this text and featured in the exhibition, attempts to situate the conflict within a larger play of spatial scales, while simultaneously grappling with the derealizing effects of the dominant interface aesthetic: see →.
For the formation of this ethos, see the first chapter of Sibyl Moholy-Nagy, Moholy-Nagy: Experiment in Totality (Cambridge, MA: MIT Press, 1950/1969), especially the excerpts from Moholy’s text “Constructivism and the Proletariat” (1922), 19.
Moholy-Nagy, Vision in Motion, 241.
On the development of electronic derivatives trading in the city, see my text “Information’s Metropolis: Chicago and the New Nature of Global Finance,” in Beate Geissler & Oliver Sann and Brian Holmes, Volatile Smile (Moderne Kunst Nürnberg, 2014).
For the recovery of this concept from historical oblivion, see John Bellamy Foster, Marx’s Ecology: Materialism and Nature (New York: Monthly Review Press, 2000).
For a synthesis of long-wave theory from Kondratiev and Trotsky to Schumpeter and Carlota Perez, plus applications to the present, see my article “Crisis Theory for Complex Societies,” in Disrupting Business, eds. Tatiana Bazzichelli and Geoff Cox (New York: Autonomedia, 2013), 199–225; also available at →.
