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"Architecturally speaking, the term "greenhouse" refers to buildings designed to optimally protect, cultivate and propagate plants under conditions that artificially reproduce their environments of origin. Employed successfully over centuries, these transparent microcosms have allowed some nations to improve their scientific knowledge, provide botanical education and develop horticultural innovations. Parallel to the benefits they brought with them, greenhouses have also had (and still have) harmful consequences on the way we relate to others, both humans and other-than-humans, and the environments we co-inhabit with them. Shifting away from the celebration of greenhouses as technical mastery and exceptional architectural feats, Greenhouse Stories is an invitation to critically look at greenhouses as controversial (agri)cultural production tools. Re-examining them from a social, historical, environmental and creative perspective, the essays and interviews featured in this book highlight stories of vegetal displacement, colonial appropriation and pollution. Yet they also help us to understand that greenhouses can be fertile spaces for women's empowerment and the nurturing of socially-engaged and eco-conscious projects. At a time of great anthropocentric pressure on the planet, we believe that questioning the greenhouse as a symbol and a tool can help us re-establish more humble and meaningful connections with the Earth and its living communities."--Page 4 of cover.

An experimental monograph that explores Nathaniel Mellors's linguistic manipulation ; absurdist comedy and aspects of video ; sculpture ; performance and critical writing interwoven in his work. Featuring a selection of his original scripts from 2006 onward that have since been developed into video and installation works ; including Ourhouse (2010) and Brain One-Mózg Jeden (2006). Contributions by artist and writer Mick Peter and art critic John C. Welchman.

Modes of Criticism is an annual critical design journal, created in the context of francisco Laranjos continued research and teaching at the London College of Communication. Loranjo has sought to develop design methods for a critical design practice with attention to the emergence of recent technology driven terminology such as critical design, design fiction, and speculative design within graphic design. Modes of Criticism addresses these gaps in design discourse in relation to these terms, their history, methods, and criticism. It examines what is meant by criticality in design, and works toward the politicization of its discourse and practice. For issue 3, the subject matter evolves around the effects of global design aesthetics on individual ideas and creativity. Selected essays expand on the premise with contributions from els Kuijpers, design critic, lecturer, and curator in the field of culture and visual communication (nL); Angela Mitropoulos, Sydney-based theorist and academic; Laura Gordon, designer, researcher, and educator of visual Communication at the Royal College of Art, London, and co-founder of Crowd Talks; Decolonising Design Group, eight design researchers, artists, and activists founded in 2016; Silvio Lorusso, designer and artist based in Rotterdam (nL); Luke Pendrell, head of visual Communication at the School of Art, University of Brighton (UK); and James Trafford, senior professor in Critical Approaches to Art & Design at the University for the Creative Arts, epsom (UK). Francisco Laranjo extensively lectures around the world, recently at Cal Arts, valencia, California, besides publishing his writings in The New Yorker (October 2017).