Gediminas Urbonas

Gediminas Urbonas is an Associate Professor at MIT and an artist, activist, educator, and is cofounder with Nomeda Urbonas of US: the Urbonas Studio, an interdisciplinary research practice.

  • Swamps and the New Imagination

    Swamps and the New Imagination

    On the Future of Cohabitation in Art, Architecture, and Philosophy

    Nomeda Urbonas, Gediminas Urbonas, and Kristupas Sabolius

    Contributors consider the vital urgency of human cohabitation with other forms of life, beginning a dialogue with possible futures.

    It is not easy to define a swamp, even in biology. The term is frequently used to characterize marshes, bogs, mires, wetlands, meadows, and other grey zones between land and water. In that sense, “swamp” is a metonym for a variety of transitional ecosystems and functions. This book invokes that concept as a tool to address the vital urgency of human cohabitation with other forms of life, placing the swamp at the crossroad of disciplines and practices. It is more than a biological ecosystem; it is a milieu of manifold sympoietic relationships, a locus of imagination, fostering the dialogue for possible futures. It is also a very particular modality—“an interface of Gaia”—offering a “face,” a certain physiognomy to faceless networks of relations, inviting us to engage in regimes of entanglement. The contributors to this volume expand on swampy notions, probing global and speculative art and architecture, intercalating philosophy and queer theory, and filtering these notions through the lens of posthumanist ecology, informed by the histories and theories of cybernetics, sociology, and the commons.


    Lorena Bello and Brent D. Ryan, Nikola Bojić, Chiara Bottici, Jonathan Jae-an Crisman and Newton Harrison, Glorianna Davenport and Gershon Dublon, T.J. Demos, Vittoria Di Palma, Jennifer Gabrys, Tinna Grétarsdóttir and Sigurjón Baldur Hafsteinsson, Stefan Helmreich, Stefanie Hessler, Yuk Hui, Giedrė Jankevičiūtė, Caroline A. Jones, Lars Bang Larsen, Bruno Latour, Gintautas Mažeikis, Astrida Neimanis, Kate Orff and Mariel Villeré, Andrew Pickering, Kristina Lee Podesva, Elizabeth A. Povinelli, María Puig de la Bellacasa and Dimitris Papadopoulos, Cristina Ricupero, Eglė Rindzevičiūtė, Kristupas Sabolius, Saskia Sassen, Caterina Scaramelli, Marco Scotini, Pelin Tan, Nomeda & Gediminas Urbonas, Angela Vettese

    • Hardcover $50.00
  • Public Space? Lost and Found

    Public Space? Lost and Found

    Gediminas Urbonas, Ann Lui, and Lucas Freeman

    Reflections on the rapidly changing formulations of public space in the age of digital media, vast ecological crises, and civic uprisings.

    “Public space” is a potent and contentious topic among artists, architects, and cultural producers. Public Space? Lost and Found considers the role of aesthetic practices within the construction, identification, and critique of shared territories, and how artists or architects—the “antennae of the race”—can heighten our awareness of rapidly changing formulations of public space in the age of digital media, vast ecological crises, and civic uprisings.

    Public Space? Lost and Found combines significant recent projects in art and architecture with writings by historians and theorists. Contributors investigate strategies for responding to underrepresented communities and areas of conflict through the work of Marjetica Potrč in Johannesburg and Teddy Cruz on the Mexico-U.S. border, among others. They explore our collective stakes in ecological catastrophe through artistic research such as atelier d'architecture autogérée's hubs for community action and recycling in Colombes, France, and Brian Holmes's theoretical investigation of new forms of aesthetic perception in the age of the Anthropocene. Inspired by artist and MIT professor Antoni Muntadas' early coining of the term “media landscape,” contributors also look ahead, casting a critical eye on the fraught impact of digital media and the internet on public space.

    This book is the first in a new series of volumes produced by the MIT School of Architecture and Planning's Program in Art, Culture and Technology.

    Contributorsatelier d'architecture autogérée, Dennis Adams, Bik Van Der Pol, Adrian Blackwell, Ina Blom, Christoph Brunner with Gerald Raunig, Néstor García Canclini, Colby Chamberlain, Beatriz Colomina, Teddy Cruz with Fonna Forman, Jodi Dean, Juan Herreros, Brian Holmes, Andrés Jaque, Caroline Jones, Coryn Kempster with Julia Jamrozik, György Kepes, Rikke Luther, Matthew Mazzotta, Metahaven, Timothy Morton, Antoni Muntadas, Otto Piene, Marjetica Potrč, Nader Tehrani, Troy Therrien, Gedminas and Nomeda Urbonas, Angela Vettese, Mariel Villeré, Mark Wigley, Krzysztof Wodiczko

    With section openings fromAna María León, T. J. Demos, Doris Sommer, and Catherine D'Ignazio

    • Hardcover $40.00


  • Centerbook


    The Center for Advanced Visual Studies and the Evolution of Art-Science-Technology at MIT

    Elizabeth Goldring and Ellen Sebring

    The first comprehensive history of MIT's Center for Advanced Visual Studies (CAVS), told through personal accounts and groundbreaking artwork.

    In 1967, in a time of student unrest, the Massachusetts Institute of Technology did the unexpected: it established the first academic center for research and collaboration in art, science, and technology. The Center for Advanced Visual Studies (CAVS) brought artists to the MIT campus with radical expressions of a rapidly evolving technological era.

    The brainchild of founding director Gyorgy Kepes, CAVS sought to repair the distance between practitioners of art and engineering within the halls of MIT. "The scientist may be an extra brain to the artist, and the engineer may be an extra arm to the artist, whereas the artist can be an extra eye to the scientist and engineer,” said long-time director Otto Piene in Centerbeam, a 1978 film about a CAVS collaboration. As a breeder of new art forms and future-oriented artistic education, CAVS became a pioneering model for the art, technology and media labs that proliferated worldwide.

    This first comprehensive history of CAVS presents an inside view, told through personal accounts, exhibit documentation, and groundbreaking artwork, and and includes a new text on the genome of art and technology by Peter Weibel. The book chronicles, in vivid visual narrative and testimony by those who were there, the birth and flowering of a unique research node dedicated to multiple interactions of art, science, technology and environment.

    Copublished with ZKM | Center for Art and Media, Karlsruhe

    • Hardcover $45.00