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  • Matt Ratto, Megan Boler (Eds.)

    DIY Citizenship. Critical Making and Social Media

  • Gilles Rouffineau (Ed.)

    Passing On History. Design Contribution To Knowledge…

  • Zeuler R. M. de A. Lima

    Lina Bo Bardi

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    Le Corbusier et la question du brutalisme. LC au J1

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    Always the Same Faces. Aus dem Alltag philippinischer…

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    Berlin Art Scene

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    They Can't Represent Us! Reinventing Democracy from…

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    A School for Design Fiction

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    Wissenschaftssprache digital. Die Zukunft von gestern

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    B is for Bauhaus. An A-Z of the Modern World

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    The New Urban Question

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    Ways of Curating

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    Anke Westermann. Atlas

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  • Emil Ruder

    Fundamentals

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    The Architecture of the Screen

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    Kill Your Darlings

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    Ed Atkins

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    Der Schatten des Fotografen

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    Big Sign - Little Building

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    The Uncertainty Principle

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    Reclaim Berlin. Soziale Kämpfe in der neoliberalen Stadt

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    In the Field. The Art of Field Recording

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    Über Pop-Musik

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  • Helmut C. Schulitz

    Entfesselung der Architektur. Der Architekt: Baumeister…

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    Arts-Based Research

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    Lacan. In Spite Of Everything

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    Architektur - Form und Emotion. Architecture - Form and…

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    Die Macht der Enteigneten. Das Performative im Politischen

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    Letters from Utopia

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    Damage Control. Art and Destruction Since 1950

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    Minha Casa-nossa Cidade. Innovating Mass Housing In Brazil

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    Eine Feier, elf Räume und ein gelber Korridor

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    Three Faces. Archive Chalayan

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    The Global Art Compass

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  • Jan Verwoert

    COOKIE!

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    War postdigital besser?

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    The Mysticism of Money

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    Socialism and Modernity. Art, Culture, Politics 1950 – 1974

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    Make Shift City. Renegotiating the Urban Commons

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    Dis Continuity

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    Mapping Everything

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    Artists’ Cocktails

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    Flying Furniture

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    ReNew Marxist Art History

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    Kunst und Ideologiekritik nach 1989 / Art and the Critique…

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    Liebe ist kälter als das Kapital. Love is colder than…

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    Berlin. Eine Morphologie der Mauern. A Morphology of Walls

  • Emmett Williams

    An Anthology of Concrete Poetry

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    IEMANJÁ

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    How Small? How Vast? How architecture grows

  • Pieterjan Grandry

    The Future of Architecture. What is the future of…

  • Beatriz Colomina

    Manifesto Architecture. The Ghost of Mies

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    Rolf Müller

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    Playing at Home. The House in Contemporary Art

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    Collage and Architecture

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    Eva Hesse. One More Than One

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    Wozu Bilder? Gebrauchsweisen der Fotografie

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    Is It My Body? Selected Texts

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    A5/06. HfG Ulm

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    Ware und Wissen: or the stories you wouldn’t tell a stranger

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    and Materials and Money and Crisis

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    Bathroom (Objekt series)

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    Situational Urbanism. Directing Postwar Urbanity

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    Visualising Information for Advocacy

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    Pierre Huyghe

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    Architecture after Revolution

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    Domes, Arches and Minarets. A History of Islamic-Inspired…

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    IDEA 362. Poetics of Graphic Language. Contemporary…

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    Sharp Tongues, Loose Lips, Open Eyes, Ears to the Ground

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    A-Typical Plan

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    Tyo-WTC

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    Protest Camps

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    Isotype. Design and Contexts, 1925–1971

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    Seeing from Above. The Aerial View in Visual Culture

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    The Ritual of the Snake

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    Wunderland

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    The Mysticism of Money. Precisionist Painting and Machine…

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The Hacienda. How Not to Run a Club

Eine Achterbahnfahrt durch Erfolg, Geld, Verwirung und wahren Glauben - dies sind die verrückten und und spannenden Erinnerungen von Robert Hook, dem Mitbegründer der Bands Joy Division und New Order, an die Ära des Manchester Hacienda Clubs. Als junger naiver Musiker eröffneten er und seine Bandkollegen von New Order den Club - und erlebten eine Zeit, die weit trauriger, lustiger, furchterregender und seltsamer war, als man es sich vorstellen kann. Alle Protagonisten - Barney, Tony Wilson und Shaun Ryder - haben hier ihr Stelldichein, wenn Robert Hook erzählt, wie es wirklich gewesen ist.
Peter Hook, as co-founder of Joy Division and New Order, has been shaping the course of popular music for thirty years. He provided the propulsive bass guitar melodies of 'Love Will Tear Us Apart' and the bestselling 12-inch single ever, 'Blue Monday' among many other songs. As co-owner of Manchester's Hacienda club, Hook propelled the rise of acid house in the late 1980s, then suffered through its violent fall in the 1990s as gangs, drugs, greed and a hostile police force destroyed everything he and his friends had created. This is his memory of that era and 'it's far sadder, funnier, scarier and stranger' than anyone has imagined. As young and naive musicians, the members of New Order were thrilled when their record label Factory opened a club. Yet as their career escalated, they toured the world and had top ten hits, their royalties were being ploughed into the Hacienda and they were only being paid GBP20 per week. Peter Hook looked back at that exciting and hilarious time to write HACIENDA. All the main characters appear - Tony Wilson, Barney, Shaun Ryder - and Hook tells it like it was - a rollercoaster of success, money, confusion and true faith.
http://www.cerysmaticfactory.info/the_hacienda_how_not_to_run_a_club.htm...


Peter Hook
The Hacienda. How Not to Run a Club
Simon and Schuster , 2010, 978-1847391773