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Larissa Noury</text>
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28 octobre 2010

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Les &amp;eacute;ditions

du huiti&amp;egrave;me jour

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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
La couleur habille la ville, l'illumine, l'enjolive et la sculpte. Elle est une composante essentielle de notre environnement et lib&amp;egrave;re des messages qui agissent sur notre inconscient et nos &amp;eacute;tats d'&amp;acirc;me. La couleur s'invite dans tous les domaines de la cr&amp;eacute;ation, que ce soit la mode, le design, l'urbanisme, l'architecture ou l'art.&lt;br /&gt;
&lt;br /&gt;
Ce livre, magnifiquement illustr&amp;eacute;, nous prom&amp;egrave;ne de si&amp;egrave;cle en si&amp;egrave;cle et d'un continent &amp;agrave; l'autre dans l'univers de la symbolique des couleurs. Il met en lumi&amp;egrave;re l'&amp;eacute;volution du langage de la couleur &amp;agrave; travers les civilisations. Dans la ville, comme dans l'art ou la d&amp;eacute;coration, les harmonies de couleurs sont en constante mutation. Interactions passionnantes entre les formes urbaines et le design, de l'Antiquit&amp;eacute; &amp;agrave; nos jours.&lt;/div&gt;
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&lt;b&gt;Larissa Noury&lt;/b&gt; est architecte, dipl&amp;ocirc;m&amp;eacute;e de l'&amp;Eacute;cole polytechnique de Minsk, et artiste. Elle expose r&amp;eacute;guli&amp;egrave;rement en France et &amp;agrave; l'&amp;eacute;tranger. En 2004, elle a soutenu une th&amp;egrave;se de doctorat en histoire de l'art &amp;agrave; l'universit&amp;eacute; de Bordeaux sur  L&lt;i&gt;e r&amp;ocirc;le de la polychromie dans l'environnement architectural et spatial de la ville&lt;/i&gt;.&lt;/div&gt;
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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;br /&gt; &lt;/b&gt;&lt;/div&gt; &amp;nbsp;&lt;/div&gt; Le monde occidental conna&amp;icirc;t le Hezbollah en tant que parti chiite, agent de l'Iran au Liban et force militaire qui fait la guerre &amp;agrave; Isra&amp;euml;l. M&amp;eacute;dias et gouvernements d&amp;eacute;noncent le r&amp;ocirc;le destructeur du &amp;quot;parti de Dieu&amp;quot; au sein du pays du C&amp;egrave;dre, ainsi que ses ambitions islamistes et terroristes n&amp;eacute;fastes au bon d&amp;eacute;veloppement de la soci&amp;eacute;t&amp;eacute; plurielle libanaise. Ce livre s'adresse aux lecteurs et lectrices qui ne se suffisent pas d'une telle analyse r&amp;eacute;ductrice.&lt;br /&gt; &lt;br /&gt; Bas&amp;eacute; sur une connaissance du terrain longue de quinze ann&amp;eacute;es et sur l'analyse d'une trentaine d'entretiens, ce livre propose une nouvelle grille de lecture du Hezbollah, qui l'examine non pas comme ph&amp;eacute;nom&amp;egrave;ne externe &amp;agrave; la soci&amp;eacute;t&amp;eacute; libanaise mais comme protagoniste inscrit dans l'histoire sociale et politique du pays. Mona Harb analyse aussi comment le Hezbollah forge au sein de la communaut&amp;eacute; chiite, longtemps stigmatis&amp;eacute;e, une conscience collective et un sentiment d'appartenance territoriale qui engendrent des sentiments de fiert&amp;eacute;, d'orgueil et de confiance.&lt;/div&gt; &amp;nbsp;&lt;/div&gt; &lt;b&gt;Commentaire du blog Rumor :&lt;/b&gt;&lt;/a&gt;&lt;/div&gt; &amp;nbsp;&lt;/div&gt; Alors que la tension monte &amp;agrave; Beyrouth autour du Hezbollah, devenu acteur central de la vie politique apr&amp;egrave;s les conflits de 2006 (contre Isra&amp;euml;l) et de mai 2008 (facile victoire contre les forces du 14 mars), ce livre propose un retour en arri&amp;egrave;re sur la construction du fief de la banlieue sud et de la mani&amp;egrave;re dont le parti de Dieu s&amp;rsquo;est install&amp;eacute; comme un acteur central du jeu politique urbain (et pas seulemlent politique tout court): urbanisme, services, environnement&amp;hellip;&lt;/div&gt; &amp;nbsp;&lt;/div&gt; </text>
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Rachel Thomas, 
(dir.)</text>
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Archives contemporaines

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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Les nouvelles pr&amp;eacute;occupations environnementales et de sant&amp;eacute; publique &amp;agrave; l&amp;rsquo;&amp;oelig;uvre en ce d&amp;eacute;but de XXIe si&amp;egrave;cle bouleversent l&amp;rsquo;ordre des mobilit&amp;eacute;s urbaines. Ainsi, apr&amp;egrave;s le r&amp;egrave;gne du tout automobile, puis le retour du tramway et du v&amp;eacute;lo, la marche en ville suscite un nouveau regain d&amp;rsquo;int&amp;eacute;r&amp;ecirc;t chez les am&amp;eacute;nageurs. Les raisons en sont multiples : respectueuse du cadre de vie, garante de la sant&amp;eacute; du citadin, la marche &amp;ndash; du fait peut-&amp;ecirc;tre de sa relative lenteur, des formes d&amp;rsquo;introspection qu&amp;rsquo;elle permet, des frottements qu&amp;rsquo;elle propose avec la rue et le public&amp;hellip; &amp;ndash; cr&amp;eacute;erait aussi les conditions d&amp;rsquo;une urbanit&amp;eacute; apais&amp;eacute;e. Mode de d&amp;eacute;placement &amp;eacute;cologique pour certains, outil politique pour d&amp;rsquo;autres, marcher constitue pourtant et d&amp;rsquo;abord une mani&amp;egrave;re de s&amp;rsquo;ancrer &amp;agrave; la ville et aux ambiances urbaines, de les modeler, de leur donner sens et chair.&lt;br /&gt;
&lt;br /&gt;
C&amp;rsquo;est &amp;agrave; ce regard sensible sur nos pratiques pi&amp;eacute;tonnes ordinaires que les nombreux auteurs contribuant &amp;agrave; cet ouvrage convient le lecteur. Page apr&amp;egrave;s page, chaque chemin propos&amp;eacute; d&amp;eacute;voile non seulement la quintessence mais aussi l&amp;rsquo;h&amp;eacute;t&amp;eacute;rog&amp;eacute;n&amp;eacute;it&amp;eacute; des marches urbaines : outil d&amp;rsquo;investigation de l&amp;rsquo;exp&amp;eacute;rience urbaine, mode d&amp;rsquo;incorporation des rituels sociaux &amp;agrave; l&amp;rsquo;&amp;oelig;uvre en ville, mani&amp;egrave;re d&amp;rsquo;exprimer une posture sur l&amp;rsquo;urbain, chaque marche &amp;eacute;voqu&amp;eacute;e semble davantage faire corps, prendre corps et donner corps aux ambiances urbaines du quotidien.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Sommaire :&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Introduction &amp;ndash; Rachel Thomas&lt;/div&gt;
&lt;br /&gt;
&lt;b&gt;Faire corps avec la ville : la marche comme outil d&amp;rsquo;investigation de l&amp;rsquo;exp&amp;eacute;rience urbaine&lt;/b&gt;&lt;br /&gt;
Relire &amp;quot;Pas &amp;agrave; pas&amp;quot; aujourd&amp;rsquo;hui &amp;ndash; Yves Winkin&lt;br /&gt;
Des modes d&amp;rsquo;existence de la marche urbaine &amp;ndash; Jean-Paul Thibaud&lt;br /&gt;
Etre &amp;agrave; la rue &amp;ndash; Jean-Yves Petiteau&lt;/div&gt;
&lt;br /&gt;
&lt;b&gt;Prendre corps dans la ville : la marche comme incorporation des rituels sociaux en public&lt;/b&gt;&lt;br /&gt;
Promenades et fl&amp;acirc;neries &amp;agrave; Paris du XVIIIe au XIXe si&amp;egrave;cles : la marche comme construction d&amp;rsquo;une identit&amp;eacute; urbaine &amp;ndash; Laurent Turcot&lt;br /&gt;
Des corps pi&amp;eacute;tonniers : l&amp;rsquo;anonymat urbain ou le jeu des apparences -&amp;nbsp; Anne Jarrigeon&lt;br /&gt;
Dans la compagnie des passants &amp;ndash; Samuel Bordreuil&lt;br /&gt;
Enoncer le chemin et l&amp;rsquo;inscrire dans l&amp;rsquo;espace : les descriptions d&amp;rsquo;itin&amp;eacute;raires pi&amp;eacute;tons &amp;ndash; Jeanne-Marie Barberis&lt;/div&gt;
&lt;br /&gt;
&lt;b&gt;Donner corps &amp;agrave; la ville : la marche comme expression d&amp;rsquo;une posture sur la ville et l&amp;rsquo;urbain&lt;/b&gt;&lt;br /&gt;
Errances urbaines : l&amp;rsquo;expression corporelle de la marche en ville &amp;ndash; Paola Berenstein-Jacques&lt;br /&gt;
Des villes transvers&amp;eacute;es &amp;ndash; Jean-Fran&amp;ccedil;ois Pirson&lt;br /&gt;
Contribution de l&amp;rsquo;hodologie r&amp;eacute;cr&amp;eacute;ative &amp;agrave; la perception des espaces urbaines &amp;ndash; Hendrik Sturm&lt;/div&gt;
&lt;br /&gt;
Conclusion &amp;ndash; Rachel Thomas&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Rachel Thomas&lt;/b&gt; est sociologue et charg&amp;eacute;e de recherche CNRS au laboratoire Cresson.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Naoki Yoshihara

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&amp;nbsp;&lt;/div&gt;
Fluidity of Place presents an interdisciplinary conversation with theories of space-time, place and globalization at the cutting edge of social theory. Focussing on the construction of urban space in the context of hyper-mobility, Yoshihara examines the social relations that form place in a globalized world. The first half of the book discusses globalization theory and looks at place in relation to the fluidity brought about by recent technological advances. The second half details the construction of understandings of Asian mega-cities, particularly Jakarta, and examines the realities behind narratives of overurbanization in light of globalization and the concomitant fluidity of place. Yoshihara makes a compelling argument about the competing claims to place in a world where the nation-state has lost control of its borders.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Naoki Yoshihara &lt;/b&gt;is a Professor of Sociology in the Graduate School of Arts and Letters at Tohoku University, Japan.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Lorsque vers 1850 le physicien David Brewster propose aux opticiens britanniques - qui le refusent - une bo&amp;icirc;te pour visionner des images en trois dimensions, nul n'est &amp;agrave; m&amp;ecirc;me d'imaginer le succ&amp;egrave;s que va remporter le st&amp;eacute;r&amp;eacute;oscope durant une vingtaine d'ann&amp;eacute;es. Adoub&amp;eacute; par la reine Victoria lors de l'Exposition universelle de 1851, le proc&amp;eacute;d&amp;eacute; devient la folie du jour : &amp;quot;Des milliers d'yeux avides se penchaient sur les trous du st&amp;eacute;r&amp;eacute;oscope comme sur les lucarnes de l'infini&amp;quot;, &amp;eacute;crira d'ailleurs Baudelaire.&lt;br /&gt;
&lt;br /&gt;
Au d&amp;eacute;but du Second Empire, l'affaire se pr&amp;eacute;sente comme un nouvel Eldorado et les op&amp;eacute;rateurs se mettent &amp;agrave; photographier Paris - comme Rome, Venise ou l'Egypte - sous toutes les coutures. Grands monuments ou construction des Halles, petits m&amp;eacute;tiers de la rue, lavandi&amp;egrave;res, foule sur les boulevards ou bourgeois dans les parcs de la capitale ou de la proche banlieue, voitures hippomobiles, canotiers de la Seine, jeux enfantins, tout est propice &amp;agrave; &amp;ecirc;tre saisi.&lt;br /&gt;
&lt;br /&gt;
La connaissance des documents st&amp;eacute;r&amp;eacute;oscopiques est souvent rest&amp;eacute;e limit&amp;eacute;e au cercle des collectionneurs. Apr&amp;egrave;s un long purgatoire dans les greniers, ces documents ouvrent des perspectives nouvelles et parfois insolites sur le Paris transfigur&amp;eacute; de Napol&amp;eacute;on III. Ils en restituent l'empreinte visuelle, l'inimitable singularit&amp;eacute;, comme le r&amp;eacute;v&amp;egrave;le la tr&amp;egrave;s riche iconographie de cet ouvrage. A travers les volumes ou les reliefs qu'ils ont laiss&amp;eacute;s, &amp;eacute;crivains et photographes du second Empire nous font d&amp;eacute;couvrir leur ville telle qu'ils la percevaient.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Global Urban Analysis provides a unique insight into the contemporary world economy through a focus on cities. It is based upon a large-scale customised data collection on how leading businesses use cities across the world: as headquarter locations, for finance, for professional and creative services, for media. These data - involving up to 2000 firms and over 500 cities - provide evidence for both how the leading cities, sometimes called global cities, are coming to dominate the world economy, and how hundreds of other cities are faring in this brave new urban world. Thus can the likes of London, New York and Hong Kong be tracked as well as Manchester, Cleveland and Guangzhou, and even Plymouth, Chattanooga and Xi'an. Cities are assessed and ranked in terms of their importance for various functions such as for financial services, legal services and advertising, plus novel findings are reported for the geographical orientations of their connections.&lt;br /&gt;
&lt;br /&gt;
This is truly a comprehensive survey of cities in globalization covering global, world-regional, and national scales of analysis:&lt;br /&gt;
&lt;br /&gt;
- 4 key chapters outline the global structure of the world economy featuring the leading cities;&lt;br /&gt;
- 9 regional chapters covering the whole world also feature the level of services provided by 'medium' cities;&lt;br /&gt;
- 22 chapters on selected countries and sub-regions indicate global-ness and local-ness and feature an even wider range of cities.&lt;br /&gt;
&lt;br /&gt;
Written in an easy to understand style, this book is a must read for anybody interested in their own city in the world and how it relates to other cities.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Peter J. Taylor&lt;/b&gt; is Professor of Geography and Environmental Management at Northumbria University, Newcastle, UK, and Director of the Globalization and World Cities (GaWC) Research Network.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Mike Hodson
Simon Marvin

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&amp;nbsp;&lt;/div&gt;
Relationships between cities and energy, water, waste and transport networks are changing. World Cities and Climate Change argues that this is not something that is happening naturally but is the product of social, economic, political and spatial processes and that these changes have profound implications for the shape of contemporary and future cities.&lt;br /&gt;
&lt;br /&gt;
Drawing on research and examples from London, New York, Tokyo, Melbourne, Shanghai, San Francisco and other world cities, Mike Hodson and Simon Marvin pose a critical question:&lt;br /&gt;
&lt;br /&gt;
* Are visions of future urbanism socially and ecologically progressive or do they promote the selective and partial re-bounding of particular social groups and places predicated on new - often hidden - interdependencies?&lt;br /&gt;
&lt;br /&gt;
They develop a critical synthesis of dominant, new infrastructure styles that they argue are emerging as responses to the systemic pressures of climate change and resource constraint confronting cities and networks. The book outlines the key elements of these new strategies and critically assesses their implications and relevance to other urban contexts.&lt;br /&gt;
&lt;br /&gt;
World Cities and Climate Change is key reading for students, academics, researchers and policy makers with an interest in urban politics, technology and ecology.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Mike Hodson &lt;/b&gt;is a Research Fellow at the Centre for Sustainable Urban and Regional Futures (SURF), University of Salford.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Simon Marvin &lt;/b&gt;is a Professor and Co-Director of SURF.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Helen Levitt (1913-2009) est connue pour ses photographies de rue r&amp;eacute;alis&amp;eacute;es &amp;agrave; New York, essentiellement dans les ann&amp;eacute;es 1930-1940.&lt;/div&gt;
&lt;br /&gt;
Con&amp;ccedil;u &amp;agrave; l'&amp;eacute;poque avec l'&amp;eacute;crivain James Agee, son livre A Way of Seeing (The Viking Press, 1965) montre la vie ordinaire de Spanish Harlem et du Lower East Side comme un th&amp;eacute;&amp;acirc;tre ouvert, sans le sentimentalisme ou l'id&amp;eacute;ologie qui s'attachent souvent &amp;agrave; la repr&amp;eacute;sentation des quartiers populaires. Cette publication, mise en regard de l'&amp;eacute;dition revue par Helen Levitt en 1981, constitue un objet remarquable dans l'histoire du livre de photographie.&lt;br /&gt;
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&lt;br /&gt;
L'ouvrage pr&amp;eacute;sente &amp;eacute;galement deux ensembles moins connus : le premier est issu d'un voyage  au Mexique en 1941 ; le second r&amp;eacute;unit des photographies en couleur prises &amp;agrave; New York entre 1959 et 1993.&lt;br /&gt;
&lt;br /&gt;
Historien et critique d'art, &lt;b&gt;Jean-Fran&amp;ccedil;ois Chevrier&lt;/b&gt; enseigne &amp;agrave; l'&amp;Eacute;cole nationale sup&amp;eacute;rieure des beaux-arts de Paris.&lt;br /&gt;
&lt;b&gt;Jorge Ribalta&lt;/b&gt; est artiste et critique d'art.&lt;br /&gt;
&lt;b&gt;Alan Trachtenberg&lt;/b&gt; est professeur d'&amp;eacute;tudes am&amp;eacute;ricaines &amp;agrave; l'universit&amp;eacute; de Yale.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Between the Victory parade along the Champs-Elys&amp;eacute;es in 1919 and the Germans' march through the Arc de Triomphe in 1940, Paris enjoyed a twenty-year period of cultural and intellectual expansion, receptive to the avant-garde while loyal to the French tradition of classicism. During  this between-the-wars period, France remained a major economic, military, and colonial power. Philosophy, art, and fashion radiated from Paris. Artists and intellectuals came from every part of the world to the City of Light to find inspiration.&lt;br /&gt;
&lt;br /&gt;
Paris sparkled in the ann&amp;eacute;es folles that followed the euphoria of victory in World War I. The bohemian lifestyle of Montparnasse attracted international painters and sculptors such as Chagall, Giacometti, and Calder to studios, caf&amp;eacute;s, and bars such as La Coupole. The chameleon-like genius Picasso experimented simultaneously with a myriad of art styles, including Surrealism.  Matisse and L&amp;eacute;ger opened academies. The School of Paris encompassed artists as varied as Balthus, Calder, Derain, van Dongen, Foujita, and Maillol, while the capital became the world center of abstract art, thanks to Mondrian and Mir&amp;oacute;. Photographers such as Cartier-Bresson and Brassa&amp;iuml; explored new techniques, while Bellmer and Dora Maar's edgy, psychosexual work broke boundaries. Haute couture confirmed Parisian chic with the emergence of Chanel, Vionnet, Lanvin, and Schiaparelli. Luxurious objects and decorative arts, epitomized by the glossy ebony cabinetry of Ruhlman, the sophisticated lighting of Lalique, and the stylishly glamorous portraits of Tamara de Lempicka, created the Art Deco style. A similar creative fever animated dance (Ballets Russes), architecture (Le Corbusier, Chareau, Mallet-Stevens), and film (Ren&amp;eacute; Clair).&lt;br /&gt;
&lt;br /&gt;
Intellectual life was in full flower, punctuated by arcane disputes between Dadaists and Surrealists. American writers artists and photographers, powered by the almighty dollar, flocked to Paris and formed a boisterous section of the international community. The &amp;ldquo;lost generation&amp;quot; of Hemingway and Fitzgerald took tea with Gertrude Stein, were photographed by Lee Miller and Man Ray, and cheered Josephine Baker's La Revue Negre; the party continued into the late hours, attended by Ana&amp;iuml;s Nin and Henry Miller, drawn by Paris' tolerance for all forms of sexuality. Then came the crash of 1929 and the rise to power of authoritarian regimes in Germany, Italy, Russia, and Spain. While Paris remained an active cultural and intellectual center, it had lost some of its carefree spirit. Artistic experimentation, notably in architecture, reverted to more classical antecedents, or reflected the growing insecurity and violence, as in Picasso's Guernica.&lt;br /&gt;
&lt;br /&gt;
Richly illustrated with hundreds of paintings, drawings, photographs, and posters, this book is a cross-cultural history of a great city's intellectual and cultural ferment in the dazzling post-World War I era.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Vincent Bouvet&lt;/b&gt; is an art historian specializing in architecture and decorative arts of the 19th and 20th centuries. He is currently head of communications at the Ecole Nationale Sup&amp;eacute;rieure des Arts D&amp;eacute;coratifs.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;G&amp;eacute;rard Durozoi&lt;/b&gt; is a French philosopher, art historian, and critic. He has written numerous books and articles and edited a dictionary of modern and contemporary art.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Routledge

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&amp;nbsp;&lt;/div&gt;
Examining spatial transformations in Bangalore, one of India's fastest growing cities, this book highlights the influence of information and communications technology (ICT) development on the city. Focusing on the production of urban space and the processes that inform such production, the author proposes that Silicon Valley, California has become a globalized model for the production of ICT urban development.&lt;br /&gt;
&lt;br /&gt;
The book presents a history of Bangalore's urban development and the emergence of the ICT industry there. Using this historical analysis and the geography of ICT development, the author identifies several case study areas where ICT development is transforming the built environment. Building on this analysis, the author goes on to suggest that the development in Bangalore over the last 20 years represents a type of informational cascade, and that the case studies illustrate that local information alters the course of ICT development and has the potential to overturn this cascade. This in turn could lead to a more sustainable urban future, one that profits from the city's regional advantages.&lt;br /&gt;
&lt;br /&gt;
The transformations taking place in Bangalore are occurring in many cities that are competing in the new informational economy. This book makes an important contribution to studies on South Asia as well as Architecture and Urban Studies.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;John C. Stallmeyer&lt;/b&gt; is Assistant Professor of Architecture at University of Illinois - Urbana-Champaign, USA. His research examines the influences of globalization on the built environment.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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                <text>&lt;div&gt;&lt;b&gt;Abstract from the publisher : &lt;/b&gt;&lt;/div&gt; &amp;nbsp;&lt;/div&gt; Traditionally, the study of &amp;lsquo;power in the city&amp;rsquo; was confined to the institutions of urban government and the actors involved in contesting and making political decisions in and for metropolitan societies. Increasingly, however, attention has turned to the function of the city not only as a centre of urban governance but as a major economic, social, cultural and strategic force in its own right.&lt;br /&gt; &lt;br /&gt; Cities, Politics and Power combines this traditional concern with how the cities in which we live are organised and run with a broader focus on cities and urban regions as multiple sites and agents of power. This book is divided into five sections, with a short introduction outlining the argument and organisation of the text. Part two charts the development of the urban polity and considers the ways in which coercion and force continue to be used to segregate, oppress and annihilate urban populations. Part three critically examines the key collective actors and processes that compete for and organise political power within cities, and how urban governance operates and interacts with lesser and greater scales of government and networks of power. Part four then explores the ways in which &amp;lsquo;the political&amp;rsquo; is constituted by urban inhabitants, and how social identity, information and communication networks, and the natural and built environment all comprise intersecting fields of urban power. The conclusion calls for a broader theoretical and thematic approach to the study of urban politics.&lt;br /&gt; &lt;br /&gt; This book makes extensive use of comparative and historical case studies, providing broad coverage of politics and urban movements in both the Global North and the Global South, with a particular focus on the UK, USA, Canada, Latin America and China. It is written in an accessible and lucid style and provides suggestions for further reading at the end each chapter.&lt;br /&gt; &lt;br /&gt; &lt;b&gt;Simon Parker &lt;/b&gt;is Senior Lecturer in Politics at the University of York where he teaches urban theory and comparative politics.&lt;/div&gt; &amp;nbsp;&lt;/div&gt; </text>
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Cris &amp;eacute;crits

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&amp;nbsp;&lt;/div&gt;
Comment t&amp;eacute;moigner de tout ce qui est immat&amp;eacute;riel, garder les traces, l&amp;rsquo;esprit d&amp;rsquo;un lieu quand une ville remod&amp;egrave;le un pan entier de son territoire ? Vaste no man&amp;rsquo;s land &amp;quot;les Anciens Abattoirs&amp;quot; de Marseille, en attente de projets municipaux, de 1989 &amp;agrave; 2010 ont &amp;eacute;t&amp;eacute; port&amp;eacute;s, anim&amp;eacute;s, enchant&amp;eacute;s, par l&amp;rsquo;&amp;eacute;tonnante aventure collective d&amp;rsquo;artistes cr&amp;eacute;ateurs-am&amp;eacute;nageurs-r&amp;eacute;sidents.&lt;/div&gt;
&lt;br /&gt;
Tant de cr&amp;eacute;ations, de r&amp;eacute;p&amp;eacute;titions de spectacles qui tourneront ensuite dans le monde, tant de talents, tant de rencontres, tant d&amp;rsquo;avanc&amp;eacute;es intellectuelles et concr&amp;egrave;tes sur les rapports entre l&amp;rsquo;artistique et l&amp;rsquo;espace public, mais aussi tant d&amp;rsquo;ing&amp;eacute;niosit&amp;eacute; &amp;agrave; vivre dans la libert&amp;eacute;, tant de r&amp;eacute;ussite &amp;agrave; &amp;ecirc;tre ensemble : la convivialit&amp;eacute; des f&amp;ecirc;tes, les grandes tabl&amp;eacute;es de &amp;quot;la cantine&amp;quot;. Les artistes peuvent-ils changer un quartier ?&lt;/div&gt;
&lt;br /&gt;
Alors que l&amp;rsquo;aventure s&amp;rsquo;ach&amp;egrave;ve, en recueillir les traces, aider &amp;agrave; construire une m&amp;eacute;moire, tel fut le projet et l&amp;rsquo;urgence de ce livre : un r&amp;eacute;cit qui dit souvent &amp;quot;je&amp;quot;, forc&amp;eacute;ment subjectif, de l&amp;rsquo;&amp;eacute;crivain &lt;b&gt;Sara Vidal&lt;/b&gt;, enrichi par les propositions photographiques de &lt;b&gt;Fred Raynaud&lt;/b&gt; et les paroles libres d&amp;rsquo;un petit nombre parmi tous ceux qui ont particip&amp;eacute; &amp;agrave; la complexit&amp;eacute; et &amp;agrave; la po&amp;eacute;sie de cette travers&amp;eacute;e sur 20 ans.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&#13;
Qualifier ce territoire au milieu de l’Europe, laborieuse couture entre les mondes latins, anglo-saxons et germains nécessitait non seulement une analyse critique des notions courantes (du rurbain à la città diffusa) mais aussi une re-lecture, multiscalaire, de l’histoire de sa formation. Basée sur la production d’une cartographie originale, depuis les grandes structures médiévales jusqu’aux formes contemporaines de l’habitat, elle fait apparaître des caractéristiques de polycentralité, de subsidiarité, de maillage, de pouvoir local, de villes en réseau par-delà les territoires, qui ne sont pas sans évoquer des modes de gouvernance en débat aujourd’hui.&#13;
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&#13;
Bénédicte Grosjean est enseignante titulaire à l’École nationale supérieure d’Architecture de Strasbourg.   Préface de Bernardo Secchi.</text>
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Editions de l'Aube

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&amp;nbsp;&lt;/div&gt;
La place de Rome dans l&amp;rsquo;histoire du cin&amp;eacute;ma est consid&amp;eacute;rable. Une Rome bless&amp;eacute;e dans &lt;i&gt;Rome, ville ouverte&lt;/i&gt; (Rossellini, 1945) et dans la trilogie de De Sica et Zavattini (&lt;i&gt;Sciusci&amp;agrave;&lt;/i&gt; en 1946, &lt;i&gt;Le Voleur de bicyclette&lt;/i&gt; en 1948, &lt;i&gt;Umberto&lt;/i&gt; D. en 1952)&amp;thinsp;; puis le boom avec &lt;i&gt;La Dolce Vita&lt;/i&gt; (Fellini, 1960) et les antih&amp;eacute;ros de Pasolini (&lt;i&gt;Accattone&lt;/i&gt; en 1961, et &lt;i&gt;Mamma Roma&lt;/i&gt; en 1962)&amp;thinsp;; pour atteindre la Rome chaotique de &lt;i&gt;Fellini Roma&lt;/i&gt; (1972). Huit films, cinq cin&amp;eacute;astes&amp;thinsp;: autant de parcours dans la ville et son imaginaire. Toutes les images aussi m&amp;egrave;nent &amp;agrave; Rome...&lt;br /&gt;
&lt;br /&gt;
Immortalis&amp;eacute;e par le cin&amp;eacute;ma, la Ville &amp;eacute;ternelle en devient une des capitales avec &lt;i&gt;Cinecitt&amp;agrave;&lt;/i&gt;. &amp;Agrave; Rome et ses couches arch&amp;eacute;ologiques correspondent ainsi des films et les couches iconographiques laiss&amp;eacute;es par la s&amp;eacute;dimentation de la cr&amp;eacute;ation. Les images de Rome au cin&amp;eacute;ma sugg&amp;egrave;rent des formes distinctes de la r&amp;eacute;alit&amp;eacute; d&amp;eacute;j&amp;agrave; prot&amp;eacute;iforme de la ville et ont, en retour, transform&amp;eacute; les structures urbaines et les coutumes.&lt;br /&gt;
&lt;br /&gt;
Cet essai est une invitation &amp;agrave; penser la vie de la ville entre m&amp;eacute;moire et images. Une r&amp;eacute;flexion en mouvement sur le r&amp;ocirc;le du cin&amp;eacute;ma dans nos mani&amp;egrave;res modernes de &amp;quot;faire cit&amp;eacute; ensemble&amp;quot;.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Docteur en histoire (EHESS) et dipl&amp;ocirc;m&amp;eacute; de l'ESSEC, &lt;b&gt;Julien Neutres&lt;/b&gt; m&amp;egrave;ne en parall&amp;egrave;le une carri&amp;egrave;re dans la communication et des recherches en sciences humaines.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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