Search results for ""Author Vincent Antonin Lépinay""

Once the home of Catherine the Great’s private art collection, Russia’s State Hermitage Museum became the largest museum in the Soviet Union and, since the collapse of the USSR, one of the most active museums in the world. The Hermitage is a global model for the collection and preservation of fine art, deeply shaped by its need to protect itself and its holdings from the world beyond its gates. In Art of Memories, Vincent Antonin Lépinay documents the Hermitage’s curatorial practices in an innovative consideration of the museum as a cultural laboratory.Lépinay analyzes the tensions between the museum as a space of exploration of the collections and as a culture heavily invested in self-protection from the outside world. During a time when traveling abroad was rare, a generation of art historians produced a culture of confined scholarship premised on their proximity to the holdings of a museum enclave. As the Hermitage has become increasingly present on the world museum scene, its culture of secrecy and orality has endured. Lépinay analyzes the ethos of Hermitage curators and scholars over the transition from Soviet to post-Soviet museum cultures, considering the mobility of art, documentation of the collection, and the transformation of expertise. Based on Lépinay’s extraordinary access to the Hermitage and the scholars who work there, Art of Memories opens the door of one of the world’s great museums to reveal how art history is made. It is an essential study for readers interested in the role that outside forces play in culture, organizations, and the production of knowledge.

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Once the home of Catherine the Great’s private art collection, Russia’s State Hermitage Museum became the largest museum in the Soviet Union and, since the collapse of the USSR, one of the most active museums in the world. The Hermitage is a global model for the collection and preservation of fine art, deeply shaped by its need to protect itself and its holdings from the world beyond its gates. In Art of Memories, Vincent Antonin Lépinay documents the Hermitage’s curatorial practices in an innovative consideration of the museum as a cultural laboratory.Lépinay analyzes the tensions between the museum as a space of exploration of the collections and as a culture heavily invested in self-protection from the outside world. During a time when traveling abroad was rare, a generation of art historians produced a culture of confined scholarship premised on their proximity to the holdings of a museum enclave. As the Hermitage has become increasingly present on the world museum scene, its culture of secrecy and orality has endured. Lépinay analyzes the ethos of Hermitage curators and scholars over the transition from Soviet to post-Soviet museum cultures, considering the mobility of art, documentation of the collection, and the transformation of expertise. Based on Lépinay’s extraordinary access to the Hermitage and the scholars who work there, Art of Memories opens the door of one of the world’s great museums to reveal how art history is made. It is an essential study for readers interested in the role that outside forces play in culture, organizations, and the production of knowledge.

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The financial industry's invention of complex products such as credit default swaps and other derivatives has been widely blamed for triggering the global financial crisis of 2008. In Codes of Finance, Vincent Antonin Lepinay, a former employee of one of the world's leading investment banks, takes readers behind the scenes of the equity derivatives business at the bank before the crisis, providing a detailed firsthand account of the creation, marketing, selling, accounting, and management of these financial instruments--and of how they ultimately created havoc inside and outside the bank.

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How can economics become genuinely quantitative? This is the question that French sociologist Gabriel Tarde tackled at the end of his career, and in this pamphlet, Bruno Latour and Vincent Antonin Lepinay offer a lively introduction to the work of that forgotten genius of nineteenth-century social thought. Tarde's solution was in total contradiction to the dominant views of his time: to quantify the connections between people and goods, you need to grasp 'passionate interests'. In Tarde's view, capitalism is not a system of cold calculations - rather it is a constant amplification in the intensity and reach of passions. In a stunning anticipation of contemporary economic anthropology, Tarde's work defines an alternative path beyond the two illusions responsible for so much modern misery: the adepts of the Invisible Hand and the devotees of the Visible Hand will learn how to escape the sterility of their fight and recognize the originality of a thinker for whom everything is intersubjective, hence quantifiable. At a time when the regulation of financial markets is the subject of heated debate, Latour and Lepinay provide a valuable historical perspective on the fundamental nature of capitalism.

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While Russian computer scientists are notorious for their interference in the 2016 US presidential election, they are ubiquitous on Wall Street and coveted by international IT firms and often perceive themselves as the present manifestation of the past glory of Soviet scientific prowess. Drawing on over three hundred in-depth interviews, the contributors to From Russia with Code trace the practices, education, careers, networks, migrations, and lives of Russian IT professionals at home and abroad, showing how they function as key figures in the tense political and ideological environment of technological innovation in post-Soviet Russia. Among other topics, they analyze coders' creation of both transnational communities and local networks of political activists; Moscow's use of IT funding to control peripheral regions; brain drain and the experiences of coders living abroad in the United Kingdom, United States, Israel, and Finland; and the possible meanings of Russian computing systems in a heterogeneous nation and industry. Highlighting the centrality of computer scientists to post-Soviet economic mobilization in Russia, the contributors offer new insights into the difficulties through which a new entrepreneurial culture emerges in a rapidly changing world. Contributors. Irina Antoschyuk, Mario Biagioli, Ksenia Ermoshina, Marina Fedorova, Andrey Indukaev, Alina Kontareva, Diana Kurkovsky, Vincent Lépinay, Alexandra Masalskaya, Daria Savchenko, Liubava Shatokhina, Alexandra Simonova, Ksenia Tatarchenko, Zinaida Vasilyeva, Dimitrii Zhikharevich

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While Russian computer scientists are notorious for their interference in the 2016 US presidential election, they are ubiquitous on Wall Street and coveted by international IT firms and often perceive themselves as the present manifestation of the past glory of Soviet scientific prowess. Drawing on over three hundred in-depth interviews, the contributors to From Russia with Code trace the practices, education, careers, networks, migrations, and lives of Russian IT professionals at home and abroad, showing how they function as key figures in the tense political and ideological environment of technological innovation in post-Soviet Russia. Among other topics, they analyze coders' creation of both transnational communities and local networks of political activists; Moscow's use of IT funding to control peripheral regions; brain drain and the experiences of coders living abroad in the United Kingdom, United States, Israel, and Finland; and the possible meanings of Russian computing systems in a heterogeneous nation and industry. Highlighting the centrality of computer scientists to post-Soviet economic mobilization in Russia, the contributors offer new insights into the difficulties through which a new entrepreneurial culture emerges in a rapidly changing world. Contributors. Irina Antoschyuk, Mario Biagioli, Ksenia Ermoshina, Marina Fedorova, Andrey Indukaev, Alina Kontareva, Diana Kurkovsky, Vincent Lépinay, Alexandra Masalskaya, Daria Savchenko, Liubava Shatokhina, Alexandra Simonova, Ksenia Tatarchenko, Zinaida Vasilyeva, Dimitrii Zhikharevich

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