The arts: general topics Books

Book SynopsisThe sociological imagination and the artistic imagination have been historically intertwined, at once reciprocal and conflicting, complementary and tensional. This connection is nowhere more apparent than in the work of Zygmunt Bauman. His conception and practice of sociology were always infused with a literary and artistic sensibility. He wrote extensively on the relationship between sociology and the arts, and especially on sociology and literature; he frequently drew on literary writers in his exploration and elucidation of sociological problems; and he was an avid and passionate consumer and practitioner of art, especially film and photography. This volume brings together hitherto unknown or rare pieces by Bauman on the themes of culture and art, including previously unpublished material from the Bauman Archive at the University of Leeds. A substantial introduction by the editors provides readers with a lucid guide through this material and develops connections to Bauman’s other works. The first volume in a series of books that will make available the lesser-known writings of one of the most influential social thinkers of our time, Culture and Art will be of interest to students and scholars across the arts, humanities and social sciences, and to a wider readership.Trade Review‘Zygmunt Bauman’s work on culture and art is important in aiding our understanding of the origins of his best-known ideas, as well as in offering a plethora of new ones. They all have great implications for understanding the social world.’George Ritzer, University of Maryland ‘A set of beguiling essays. Bauman's ideas remain fresh and remarkably stimulating. He teases out the cultural contradictions of the late modern age with extraordinary delicacy.’Anthony Elliott, University of South Australia ‘This is fascinating reading.’Thesis Eleven‘A remarkable tool for understanding the nuances of an extensive and nuanced corpus of writings.’Theory, Culture and SocietyTable of ContentsSeries Introduction Translator’s Note Introduction 1. Culture and Society: Semantic and Genetic Connections (1966) 2. Notes Beyond Time (1967) 3. Marx and the Contemporary Theory of Culture (1968) 4. Culture, Values and Science of Society (1972) 5. Jorge Louis Borges, or Why Understanding is Not What it Seems to Be (1976) 6. Thinking Photographically (1983-1985) 7. Einstein Meets Magritte: Postmodernity is Born (1995) 8. Assimilation into Exile: The Jew as a Polish Writer (1996) 9. Beyond the Borders of Interpretative Anarchism (1997) 10. On Art, Death and Postmodernity - And What They Do To Each Other (1998) 11. Actors and Spectators (2004) 12. Listening to the Past, Talking to the Past…(2008) 13. The Spectre of Barbarism – Then and Now (2008) 14. A Few (Erratic) Thoughts on the Morganatic Liaison of Theory and Literature (2010) 15. On Love and Hate... In the Footsteps of Barbara Skarga (2015) Notes Acknowledgements Index

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Book SynopsisIt’s no secret that working with others, rather than alone, on a creative project can often yield the most unexpected results, a new and surprising sum greater than the whole of its parts. Please RSVP presents a bold new theory of just how powerful collaboration can be in the making of art. April Durham argues that collaborative activity has the potential to broaden and expand an individual participant’s static identity through what she calls “trans-subjectivity.” She offers a fine-grained analysis of the ways in which personal subjectivity becomes porous and malleable during the process of shared creative labor. Durham’s concept of the trans-subjective offers a new way to come to terms with the networks, either digital or otherwise, that have developed over the twentieth- and twenty-first centuries, providing a bold new frame for topics like the experience of time, community, language, and ethics. This is a crucial and eye-opening book for contemporary artists and art historians alike.

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Book SynopsisIt’s no secret that working with others, rather than alone, on a creative project can often yield the most unexpected results, a new and surprising sum greater than the whole of its parts. Please RSVP presents a bold new theory of just how powerful collaboration can be in the making of art. April Durham argues that collaborative activity has the potential to broaden and expand an individual participant’s static identity through what she calls “trans-subjectivity.” She offers a fine-grained analysis of the ways in which personal subjectivity becomes porous and malleable during the process of shared creative labor. Durham’s concept of the trans-subjective offers a new way to come to terms with the networks, either digital or otherwise, that have developed over the twentieth- and twenty-first centuries, providing a bold new frame for topics like the experience of time, community, language, and ethics. This is a crucial and eye-opening book for contemporary artists and art historians alike.

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Book SynopsisIn Christian Images and Their Jewish Desecrators, historian Katherine Aron-Beller analyzes the common Christian charge that Jews habitually and compulsively violated Christian images, identifying this allegation as one that functioned alongside other anti-Jewish allegations such as ritual murder, blood libel, and host desecration to ultimately inform dangerous and long-lasting prejudices in medieval and early modern Europe. Through an analysis of folk tales, myths, legal proceedings, and religious art, Aron-Beller finds that narratives alleging that Jews committed violence against images of Christ, Mary, and the disciples flourished in Europe between the fifth and seventeenth centuries. She then explores how these narratives manifested differently across the continent and the centuries, finding that their potency reflected not Jewish actions per se, but Christians’ own concerns about slipping into idolatry when viewing depictions of religious figures. In addition, Aron-Beller considers Jews’ own attitudes toward Christian imagery and the ways in which they responded to and rejected—or embraced—such allegations. By examining how desecration allegations affected Jewish individuals and communities spanning Byzantium, medieval England, France, Germany, and early modern Spain and Italy, Aron-Beller demonstrates that this charge was a powerful expression of the Christian majority’s anxiety around committing idolatry and their eagerness to participate in practices of veneration that revolved around visual images—an anxiety that evolved through the centuries and persists to this day.Trade Review"This is the first thorough survey of the alleged Jewish desecration of Christian images—a must-read for scholars of medieval and early modern history." * Carlos Espí Forcén, Universidad de Murcia *

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Book SynopsisFor decades, contemporary artworks with reflective properties have stimulated public forms of spectatorship. According to Cristina Albu, these artworks, which can include elements such as mirrors, live video feedback, or sensors, draw attention to affective interdependence and mechanisms of social control. In Mirror Affect, Albu provides a historical account of mirroring processes in contemporary art and offers insight into the phenomenological and sociopolitical concerns that have inspired artists to stage processes of affective, perceptual, and behavioral mirroring between art viewers. Beginning with the 1960s, Albu charts the rise of interpersonal modes of art spectatorship. She reveals contemporary artists’ strategic use of reflective and responsive interfaces to instill doubt in visual representation and appeal to active scrutiny of the changing social dynamics. She suggests that the mirroring processes envisioned by contemporary artists such as Joan Jonas, Dan Graham, Lynn Hershman Leeson, Olafur Eliasson, and Rafael Lozano-Hemmer trigger visual disjunctions to upset narcissistic inclinations. They invite viewers to see themselves in relation to others and to ponder their role within complex social systems.From sculpture and performance to art and technology projects, video art, and installation art, Mirror Affect analyzes forms of interpersonal spectatorship, revising and expanding current historiographies of participatory art.Trade Review"Teeming with insights, Mirror Affect is a long-overdue reevaluation of artworks with mirroring and reflective properties. Cristina Albu argues that the tension between the private and the public, self and other, opens up a conflicted space, but one that is necessary to construct a new, revitalized sense of the social."—Colin Gardner, University of California, Santa Barbara"Mirror Affect is a detailed and timely analysis of the materiality of contemporary installation art, disclosing how the artworks' mirror structures build intersubjectivity as the spectators experience them."—Christine Ross, author of The Past is the Present; It’s the Future Too: The Temporal Turn in Contemporary Art"Mirror Effect is an interesting reading to researchers in the joined field of art, science, and technology."—Leonardo ReviewsTable of ContentsContentsIntroduction: Seeing Ourselves Seeing1. Mirror Frames: Spectators in the Spotlight2. Mirror Screens: Wary Observers under the Radar3. Mirror Intervals: Prolonged Encounters with Others4. Mirror Portals: Unpredictable Connectivity in Responsive EnvironmentsConclusion: Networked SpectatorshipAcknowledgmentsNotesIndex

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Book SynopsisThe essays in Object-Oriented Feminism explore OOF: a feminist intervention into recent philosophical discourses—like speculative realism, object-oriented ontology (OOO), and new materialism—that take objects, things, stuff, and matter as primary. Object-oriented feminism approaches all objects from the inside-out position of being an object too, with all of its accompanying political and ethical potentials. This volume places OOF thought in a long history of ongoing feminist work in multiple disciplines. In particular, object-oriented feminism foregrounds three significant aspects of feminist thinking in the philosophy of things: politics, engaging with histories of treating certain humans (women, people of color, and the poor) as objects; erotics, employing humor to foment unseemly entanglements between things; and ethics, refusing to make grand philosophical truth claims, instead staking a modest ethical position that arrives at being “in the right” by being “wrong.”Seeking not to define object-oriented feminism but rather to enact it, the volume is interdisciplinary in approach, with contributors from a variety of fields, including sociology, anthropology, English, art, and philosophy. Topics are frequently provocative, engaging a wide range of theorists from Heidegger and Levinas to Irigaray and Haraway, and an intriguing diverse array of objects, including the female body as fetish object in Lolita subculture; birds made queer by endocrine disruptors; and truth claims arising in material relations in indigenous fiction and film. Intentionally, each essay can be seen as an “object” in relation to others in this collection. Contributors: Irina Aristarkhova, University of Michigan; Karen Gregory, University of Edinburgh; Marina Gržinić, Slovenian Academy of Science and Arts; Frenchy Lunning, Minneapolis College of Art and Design; Timothy Morton, Rice University; Anne Pollock, Georgia Tech; Elizabeth A. Povinelli, Columbia University; R. Joshua Scannell, CUNY Graduate Center; Adam Zaretsky, VASTAL.Trade Review"Taking on object-oriented ontologies and speculative realism, the authors of these essays are not shy in reestablishing feminist theory as a primary resource for thinking about objects, things and environments. The editor, Katherine Behar, offers a brilliant introduction to object-oriented feminism and the encounter it stages with current philosophical trends."—Patricia Ticineto Clough, author of Autoaffection and coeditor of Beyond Biopolitics"Object-Oriented Feminism will be of particular interest for readers in feminist theory, philosophy and poststructuralism as they intersect with curatorial and art practices, and thus also being interesting for artists, curators and cultural workers navigating their ways in the worlds of theory and philosophy."—Identities: Journal for Gender, Politics and CultureTable of ContentsContents An Introduction to OOF Katherine Behar 1. A Feminist Object Irina Aristarkhova 2. All Objects Are Deviant: Feminism and Ecological Intimacy Timothy Morton 3. Allure and Abjection: The Possible Potential of Severed Qualities Frenchy Lunning 4. The World is Flat and Other Super Weird Ideas Elizabeth A. Povinelli 5. Facing Necrophilia, or “Botox Ethics” Katherine Behar 6. OOPS: Object Oriented Psychopathia Sexualis Adam Zaretsky 7. Queering Endocrine Disruption Anne Pollock 8. Political Feminist Positioning in Neoliberal Global Capitalism Marina Gržinić 9. In the Cards: From Hearing “Things” to Human Capital Karen Gregory 10. Both a Cyborg and a Goddess: Deep Managerial Time and Informatic Governance R. Joshua Scannell Acknowledgments Notes Contributors Index

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Book SynopsisMichel Foucault had been concerned about painting and the meaning of the image from his earliest publications, yet this aspect of his thought is largely neglected within the disciplines of art history and aesthetic theory. In Foucault on Painting, Catherine M. Soussloff argues that Foucault’s sustained engagement with European art history critically addresses present concerns about the mediated nature of the image in the digital age.Foucault’s writing on painting covers four discrete periods in European art history (seventeenth-century southern Baroque, mid-nineteenth century French painting, Surrealism, and figurative painting in the 1960s and ‘70s) as well as five individual artists: Velázquez, Manet, Magritte, Paul Reyberolle, and Gérard Fromanger. As Soussloff reveals in this book, Foucault followed a French intellectual tradition dating back to the seventeenth century, which understands painting as a separate area of knowledge. Painting, a practice long considered silent in its operations and effects, afforded Foucault an ideal discipline to think about history and philosophy simultaneously. Using a comparative approach grounded in art history and aesthetics, Soussloff explores the meaning of painting for Foucault’s philosophy, and for contemporary art theory, proposing a new relevance for a Foucauldian view of ethics and the pleasures and predicaments of contemporary existence.Trade Review"Catherine Soussloff is certainly one of the most intellectually intelligent and reflective art historians I can think of. Foucault on Painting is a clear, deeply thoughtful, and perfectly written contribution to the important field of intersect between art and philosophy."—James Rubin, Stony Brook University"Soussloff has produced a brief but thorough engagement with Michel Foucault’s philosophy of painting. Admirers of Foucault will love the book as will anyone with the patience and willingness to revisit some of the primary sources." —CHOICETable of ContentsContentsPreface Introduction: What Painting Does1. Systems of Art Historical and Philosophical Thought2. The Place of Painting: Velázquez’s Las Meninas3. The Limits of Irony: Manet’s Painting4. The Negativity of Painting: Magritte’s This Is Not a Pipe5. Painting in the Light of Photography: Fromanger’s MethodsAcknowledgmentsNotesIndex

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Book SynopsisHow grids paved the way for our biological understanding of organisms As one of the most visual sciences, biology has an aesthetic dimension that lends force and persuasion to scientific arguments: how things are arranged on a page, how texts are interspersed with images, and how images are composed reflect deep-seated beliefs about how life exists on Earth. Biology in the Grid traces how our current understanding of life and genetics emerged from the pervasive nineteenth- and twentieth-century graphic form of the grid, which allowed disparate pieces of information to form what media theorist Vilém Flusser called “technical images.”Phillip Thurtle explains how the grid came to dominate biology in the twentieth century, transforming biologists’ beliefs about how organisms were constructed. He demonstrates how this shift in our understanding of biological grids enabled new philosophies in endeavors such as advertising, entertainment, and even political theory. The implications of the arguments in Biology in the Grid are profound, touching on matters as fundamental as desire, our understanding of our bodies, and our view of how society is composed. Moreover, Thurtle’s beautifully written, tightly focused arguments allow readers to apply his claims to new disciplines and systems. Bristling with insight and potential, Biology in the Grid ultimately suggests that such a grid-organized understanding of natural life inevitably has social and political dimensions, with society recognized as being made of interchangeable, regulated parts rather than as an organic whole.Trade Review"Phillip Thurtle paves the way. Combining crucial insights from media theory and science history, he transforms our saturated understanding of ‘biopolitics’ into a fresh and forceful analysis uncovering the political economy of today’s life sciences. For all of us interested in epistemic media, critical vitalism, and interventionist thought, Biology in the Grid is compulsory reading."—Henning Schmidgen, Bauhaus University Weimar"The book is fascinating, detailed, and deserves to be taken seriously in the philosophy of design. The writing is clear and accessible, and the illustrations well chosen to support Thurtle's points." —CHOICETable of ContentsIntroduction: The Varieties of Gridded Experience1. Life on the Line: Organic Form2. Envisioning Grids3. Warped Grids: Pests and the Problem of Order4. Modulations: Envisioning Variations5. Drawing Together: Composite Lives and Liquid RegulationsEpilogue: Toward the Nonsynthetic Care of the Molecular SelfAcknowledgments

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Book SynopsisTraces a tradition of ironic and irreverent environmentalism, asking us to rethink the movement’s reputation for gloom and doomActivists today strive to educate the public about climate change, but sociologists have found that the more we know about alarming issues, the less likely we are to act. Meanwhile, environmentalists have acquired a reputation as gloom-and-doom killjoys. Bad Environmentalism identifies contemporary texts that respond to these absurdities and ironies through absurdity and irony—as well as camp, frivolity, irreverence, perversity, and playfulness. Nicole Seymour develops the concept of “bad environmentalism”: cultural thought that employs dissident affects and sensibilities to reflect critically on our current moment and on mainstream environmental activism. From the television show Wildboyz to the short film series Green Porno, Seymour shows that this tradition of thought is widespread—spanning animation, documentary, fiction film, performance art, poetry, prose fiction, social media, and stand-up comedy since at least 1975. Seymour argues that these texts reject self-righteousness and sentimentality, undercutting public negativity toward activism and questioning basic environmentalist assumptions: that love and reverence are required for ethical relationships with the nonhuman and that knowledge is key to addressing problems like climate change.Funny and original, Bad Environmentalism champions the practice of alternative green politics. From drag performance to Indigenous comedy, Seymour expands our understanding of how environmental art and activism can be pleasurable, even in a time of undeniable crisis.Trade Review"Bad Environmentalism confronts serious environmental problems by way of ‘unserious’ texts. Nicole Seymour takes on complex ideas with lucidity, economy, and a witty sense of humor. Against the familiar affects that tend to characterize both environmentalism and environmental studies—such as awe, love, guilt, reverence, and earnestness—Bad Environmentalism pits less solemn alternatives, including playfulness, impropriety, irreverence, irony, frivolity, and glee. I am a convert. Bad environmentalists, unite!"—Jennifer K. Ladino, author of Reclaiming Nostalgia: Longing for Nature in American Literature"In an era in which environmental crises have been normalized and environmentalists are viewed by many as overly earnest irritants, Nicole Seymour gives us something we crave (even if we’re loathe to admit it!). Bad Environmentalism offers stunningly original, creative, and playful readings of a diverse range of cultural forms, refuses the binaries of eco-purity politics, and advances a hearty support of ambiguity, irreverence, contradiction, humor, and pleasure, while holding firm against the racism and homophobia that often undergird mainstream environmentalist campaigns and logics. This is a challenging, often hilarious, and game-changing book."—David Naguib Pellow, author of What is Critical Environmental Justice? "As it turns out, climate change and the environment can be a laughing matter—at least, at an absurd or satirical level."—Foreword Reviews "Bad Environmentalism stands as an important example of the ways that humanities scholarship can make important interventions into issues of great political importance such as climate change."—LSE Review of Books "A valuable contribution to ecocriticism"—CHOICE "Given the increasingly flawed assumption that environmental knowledge will inevitably lead to action, Seymour’s Bad Environmentalism creates a space to engage with texts and critical approaches that question, ironize, and challenge the limits of environmental knowledge and feeling, and that open up new ways of thinking ecologically."—The Goose "One must give credit to Bad Environmentalism for creating space for such self-reflexivity among political activists, scholars, and students alike."—Social and Cultural Geography "Films... burden the environmental movement with demands for an unattainable and easily critiqued form of perfect environmental morality. Rather, as Bad Environmentalism unswervingly proposes, environmentalists do not need to be perfect. Demands of flawlessness often allow those who deny climate change to consistently define activists as hypocritical when those campaigners drive gas-powered cars to protests, use jet fuel to fly to movie premieres, or load trash bins with protest signs."—Interface "This book was a joy to read. That is not how I feel about anything Wendell Berry or Terry Tempest Williams ever wrote, however, and Nicole Seymour’s aim (in part) is to explain why, and why I should not feel ashamed about it. Environmentalism, she insists, is a performance, and, more often than not, its performance has featured suffocating earnestness, sanctimony, seriousness, and self-righteousness. Bad Environmentalism exposes and challenges this “good affect” by turning attention away from the mainstream and toward “dissident” cultural margins. "—Environmental History "Calling for alternative and expressive environmentalisms, Nicole Seymour’s Bad Environmentalism exposes the limited affects associated with mainstream environmentalism."—ISLE "She has crafted an important book that asks us—but also teaches us—to drop hierarchies of morality and identity and open our eyes to alternative visions of surviving on this planet, equitably, together."—Public Books "I consider Seymour’s analysis a crucial intervention in the privileging of the mainstream environmental messages found in documentaries by Al Gore, James Balog, and others. "—The Year’s Work in Critical and Cultural Theory "A crucial intervention in the privileging of the mainstream environmental messages found in documentaries by Al Gore, James Balog, and others."—Ecocriticism "Nicole Seymour’s Bad Environmentalism: Irony and Irreverence in the Ecological Age offers its archive of “bad environmentalism” to help dismantle the affective and ideological barriers that situate the environment as our sanctified, unfunny, nonhuman Other, one whose moral, ethical, and aesthetic standards we fail to live up to (even as we threaten to destroy it)."—H-Net Reviews "Bad Environmentalism, besides reminding us to check our privilege and our blind spots, gives us permission to employ affective modes that we might, in these troubling times, be tempted to suppress. Perhaps it’s not wrong to laugh as well as cry, even as the Amazon burns. Perhaps we can allow ourselves to be irritated by the sanctimony of some environmentalist voices. "—Ecozon@ "Theoretical in nature, the book never overwhelms the reader with deep dives into critical theorists unfamiliar to historians. Instead, it is funny, enjoyable and a call for a new type of action. "—Not Even Past Table of ContentsIntroduction1. “I’m No Botanist, but . . .”: Irony, Ecocinema, and the Problem of Expert Knowledge2. “So Much to See, So Little to Learn”: Perverting Nature/Wildlife Programming3. Climate Change Is a Drag and Camping Can Be Campy: On Queer Environmental Performance4. Animatronic Indians and Black Folk Who Don’t: Rewriting Racialized Environmental Affect5. Gas-Guzzling, Beer-Chugging, Tree Huggers: Toward Trashy EnvironmentalismsConclusion AcknowledgmentsNotesBibliography Index

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Book SynopsisSince the Neolithic era, artisans in East Asia have coated bowls, cups, boxes, baskets, and other utilitarian objects with a natural polymer distilled from the sap of the Rhus verniciflua, known as the lacquer tree. Lacquerware was, and still is, prized for its sheen—a lustrous beauty that artists learned to accentuate over the centuries with inlaid gold, silver, mother-of-pearl, and other precious materials.This tradition has undergone challenges over the past thirty years. A small but enterprising circle of lacquer artists has pushed the medium in entirely new and dynamic directions by creating large-scale sculptures—works that are both conceptually innovative and superbly exploitive of lacquer’s natural virtues. Featuring thirty works by sixteen artists, this handsome publication details the first-ever exhibition of contemporary Japanese lacquer sculpture in the United States, shown at the Minneapolis Institute of Art.

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Book SynopsisThe life and work of the outstanding Catalan-Majorcan philosopher, logician, and mystic Ramon Llull continues to fascinate thinkers, artists, and scholars worldwideIn this book, international experts from Europe and the United States address Lullism as a remarkable and distinctive method of thinking and experimenting. The origins and impact of Ramon Llull’s oeuvre as a modern thinker are presented, and their interdisciplinary and intercultural implications, which continue to this day, are explored. Ars combinatoria, generative and permutative generation of texts, the epistemic and poetic power of algorithmic systems, plus the principle of unconditional dialogue between cultural groups and their individual members, are the most important coordinates of this combinatorial–dialogical media and communication theory, which appeared very early in the history of science, technology, and art. It was developed in the work of Ramon Llull during the transition from the thirteenth to the fourteenth century when Arab-Islamic, Jewish, and Christian cultures intersected. The legacy of Lullism lives on in poetry and in the visual and electronic-based arts, as well as in research on the history of informatics, formal logic, and media archaeology. The primary idea of Llull’s teachings—to enable rational and therefore trustworthy dialogue between cultures and religions through a universally valid system of symbols—is today still topical and of great relevance, especially in the tensions prevailing in globalized spaces of possibility.Contributors: Miquel Bassols, Florian Cramer, Salvador Dalí, Fernando Domínguez Reboiras, Diane Doucet-Rosenstein, Jordi Gayà, Jonathan Gray, Daniel Irrgang, David Link, Sebastián Moro Tornese, Josep E. Rubio, Henning Schmidgen, Wilhelm Schmidt-Biggemann, Gianni Vattimo, Janet Zweig.

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Book SynopsisA second edition of the classic introduction to arts in social movements, fully updated and now including Black Lives Matter, Occupy Wall Street, and new digital and social media forms of cultural resistanceThe Art of Protest, first published in 2006, was hailed as an “essential” introduction to progressive social movements in the United States and praised for its “fluid writing style” and “well-informed and insightful” contribution (Choice Magazine). Now thoroughly revised and updated, this new edition of T. V. Reed’s acclaimed work offers engaging accounts of ten key progressive movements in postwar America, from the African American struggle for civil rights beginning in the 1950s to Occupy Wall Street and Black Lives Matter in the twenty-first century. Reed focuses on the artistic activities of these movements as a lively way to frame progressive social change and its cultural legacies: civil rights freedom songs, the street drama of the Black Panthers, revolutionary murals of the Chicano movement, poetry in women’s movements, the American Indian Movement’s use of film and video, anti-apartheid rock music, ACT UP’s visual art, digital arts in #Occupy, Black Lives Matter rap videos, and more. Through the kaleidoscopic lens of artistic expression, Reed reveals how activism profoundly shapes popular cultural forms. For students and scholars of social change and those seeking to counter reactionary efforts to turn back the clock on social equality and justice, the new edition of The Art of Protest will be both informative and inspiring.Trade Review"This impressive study demonstrates that culture matters to social movements and that social movements affect cultural and aesthetic practices. From the transmission of southern spirituals into freedom songs during the civil rights era to political theater in antiracist struggles, from poetry as a site of feminist consciousness-raising to mural painting within the Chicano movement, from rock music and the 1980s anti-apartheid student movement to performance art in ACT UP, T. V. Reed vividly demonstrates that cultural work has been a vital medium for imagining and acting for social change."—Lisa Lowe, author of Immigrant Acts: On Asian American Cultural Politics"The Art of Protest is a great introduction to the history of social movements, but it is also an important book about art and culture, about the infinitely lively, complex, and contradictory roles assigned to performances and cultural expressions by social movements."—George Lipsitz, author of American Studies in a Moment of Danger"As a veteran teacher and practitioner of artistic activism, there are a few resources I have found to be invaluable: T. V. Reed's The Art of Protest is one of them. Knowledgeable, lucid, comprehensive, and creative, it is simply the best book out there for understanding how activists in the United States have used cultural strategies and artistic tactics to effectively—and affectively—challenge existing power and envision radical alternatives. I have taught the first edition of this book every year since it was first published, and the release of this new edition means I'll be teaching it for years to come."—Stephen Duncombe, co-director, Center for Artistic Activism"T. V. Reed’s fully renovated version of this landmark study is even more relevant than the original publication. In the past fifteen years, the energy and creativity of artists and cultural workers has become increasingly central to the political work of movements. An indispensable overview!"—Andrew Ross, New York UniversityTable of ContentsContentsIntroduction1. Singing Civil Rights: The Freedom Song Tradition2. Dramatic Resistance: Theatrical Politics from the Black Panthers to Black Lives Matter3. The Poetical Is the Political: Feminist Poetry and the Poetics of Women’s Rights4. Revolutionary Walls: Chicano/a Murals, Chicano/a Movements5. Old Cowboys, New Indians: Hollywood Frames the American Indian Movement6. “We Are [Not] the World”: Famine, Apartheid, and the Politics of Rock Music7. ACTing UP against AIDS: The (Very) Graphic Arts in a Moment of Crisis8. Novels of Environmental Justice: Toxic Colonialism and the Nature of Culture9. Puppetry against Puppet Regimes: The “Battle of Seattle” and the Global Justice Movement10. #Occupy All the Arts: Challenging Wall Street and Economic Inequality WorldwideConclusion: The Cultural Study of Social MovementsAcknowledgmentsNotesIndex

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Book SynopsisA visionary new approach to the Americas during the age of colonization, made by engaging with the aural aspects of supposedly “silent” images Colonial depictions of the North and South American landscape and its indigenous inhabitants fundamentally transformed the European imagination—but how did those images reach Europe, and how did they make their impact? In Sound, Image, Silence, noted art historian Michael Gaudio provides a groundbreaking examination of the colonial Americas by exploring the special role that aural imagination played in visible representations of the New World.Considering a diverse body of images that cover four hundred years of Atlantic history, Sound, Image, Silence addresses an important need within art history: to give hearing its due as a sense that can inform our understanding of images. Gaudio locates the noise of the pagan dance, the discord of battle, the din of revivalist religion, and the sublime sounds of nature in the Americas, such as lightning, thunder, and the waterfall. He invites readers to listen to visual media that seem deceptively couched in silence, offering bold new ideas on how art historians can engage with sound in inherently “mute” media.Sound, Image, Silence includes readings of Brazilian landscapes by the Dutch painter Frans Post, a London portrait of Benjamin Franklin, Thomas Edison’s early Kinetoscope film Sioux Ghost Dance, and the work of Thomas Cole, founder of the Hudson River School of American landscape painting. It masterfully fuses a diversity of work across vast social, cultural, and spatial distances, giving us both a new way of understanding sound in art and a powerful new vision of the New World. Trade Review"In this breathtaking study Michael Gaudio invites us to listen to visual media that seem couched in silence or in deceptive tranquility. He studies the graphic character of speech and dance in copperplate engravings of Jean de Léry’s encounter with the New World; soundscapes of seventeenth-century paintings depicting Dutch holdings in Brazil; Enlightenment art depicting thunder and lightning; the voice of nature in American painting of the early 1800s; the sound of music in very early cinema. Of broad scope, written with uncommon force and elegance, Sound, Image, Silence inspires by virtue of a unique aural vision. It changes the direction of our appreciation of the visual arts."—Tom Conley, Harvard University"Sound, Image, Silence is a study of how art making is a dance among sensorial pathways and human encounter. Michael Gaudio searches for interstitial meanings between many kinds of binaries in our cultures and histories—between what is heard and not heard, mimesis and invention, assimilation and otherness. What results is an enthralling, crackling, heady journey into heretofore silent territories of artistic imagination."—Asma Naeem, Eddie C. and C. Sylvia Brown Chief Curator, The Baltimore Museum of Art"One of the many merits of Gaudio’s bracing book is how it avoids positing sound as synonymous with speech, as a mere metaphor for how certain pictures “mean.” Thus Sound, Image, Silence, in a refreshing way, moves us away from the enduring Derridian preference for différence as something written rather than heard."—CAA Reviews"With both eyes and ears in sound studies, Michael Gaudio’s clairaudience brilliantly achieves, in Sound, Image, Silence, to tune in to that uncertain Atlantic passage, turning it on into a captivating journey between sight and sound."—Visual Studies"Generous in its approachability and well-suited for the early American studies classroom."—Early American Literature

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Book SynopsisAn international group of artists and scholars reflects on the nature and significance of education in contemporary society, introducing new perspectives on learning and creativity Back to the Sandbox addresses critical issues of the education system from an intriguing new perspective: essays by leading thinkers juxtaposed with art projects, intended for kindergarten through adult. The core issues include democracy in education, creativity, transdisciplinarity, neuroplasticity, thinking versus memorizing, science versus art and humanities. Both artists and scholars explore specific topics while guided by one framing question central to educators’ and students’ concerns today: What education do we need? The volume includes several lead essays and eighteen shorter texts from international scholars. Based on an exhibition with the same name, Back to the Sandbox records an ongoing multifaceted project that comprises exhibitions, conferences, workshops, surveys, and online roundtables, connecting local communities with international networks. This groundbreaking publication will serve as both reference and inspiration to educators, students, artists, parents, policy makers, and everyone interested in education and art. Contributors: Peter Alheit, Georg-August-U, Gottingen, Germany; Eva Bakkeslett; Nicolas Buchoud; Nancy Budwig, Clark U; Cathy Burke, U of Cambridge; Luis Camnitzer; Teddy Cruz; Jim Duignan; Tony Eaude, U of Oxford; Bente Elkjaer, Aarhus U, Denmark; Priscila Fernandes; Fonna Forman; Liane Gabora, U of British Columbia; Henry Giroux, McMaster U, Ontario; Ken Goldberg, UC Berkeley; Michael Joaquin Grey; Ane Hjort Guttu; Jessica Hamlin, New York U; Yaacov Hecht; Knud Illeris, Danish School of Education, Copenhagen; Mannish Jain; Ronald Jones; Markus Kayser; Floris Koot; Eva Koťátková; Graziela Kunsch; Pamela Kuntz; Tyson E. Lewis, U of North Texas; Sugata Mitra, Newcastle U, London; James Mollison; Basarab Nicolescu, U Pierre et Marie Curie, Paris; Petr Nikl; Petr Payne; Renzo Piano; Howard Rheingold; Luboš Rychvalský; Andreas Schleicher; Calvin Seibert; Bára Štěpánová; Mark Tennant; Bruce E. Wexler, Yale U; Judy Willis; Conrad Wolfram; Hafthor Yngvason; Philip Zimbardo, Stanford U.

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Book SynopsisAn ambitious study of what it means to be a museum in the twenty-first century In Museums Inside Out, Mark W. Rectanus investigates how museums are blurring the boundaries between their gallery walls and public spaces. He examines how artists are challenging and changing museums, taking readers deep into new experiments in exhibition making. Along the way, Rectanus offers insights about how museums currently exemplify the fusion of the creative and digital economies. Exploring contemporary museum practices, initiatives, and collaborations, Rectanus analyzes projects like the Collective Museum, which foster land-based museum ecologies by co-curating with local communities. The Schirn Kunsthalle, Petach Tikva Museum of Art, and Tate Modern reflect museums as cultural zones for performance, inside and outside the museum. In addition, he studies a joint project between the Van Gogh Museum and the investment firm Deloitte Luxembourg, extracting insights on the transfer of expertise from museums to the financial sector. Wide-ranging in its case studies, and boldly putting museum studies and art into conversation, Museums Inside Out delivers vital insights into the ideas and places that museums are creating in contemporary culture.Trade Review"Museums Inside Out introduces a new vocabulary to understand the place of artists in redefining and contesting the museum in the context of globalization and the creative economy. This groundbreaking book is necessary reading for anyone seeking to understand the directions of travel of museums and of contemporary art in an age of accelerated mobility."—Michelle Henning, author of Museums, Media and Cultural TheoryTable of ContentsContentsAcknowledgmentsIntroduction: Moving Out1. Rethinking Museums2. Museums Inside Out: Mapping Cultural Memory3. Cartographies of Urban Space and Performance4. Datascapes and Landscapes5. Museums and the Creative Economy: Soft Power, Financialization, and Activism6. Coda: Museum Futures and SpeculationsNotesIndex

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Book SynopsisReconsiders exceptionalism between aesthetics and politics Here, Arne De Boever proposes the notion of aesthetic exceptionalism to describe the widespread belief that art and artists are exceptional. Against Aesthetic Exceptionalism challenges that belief by focusing on the sovereign artist as genius, as well as the original artwork as the foundation of the art market. Engaging with sculpture, conceptual artwork, and painting by emerging and established artists, De Boever proposes a worldly, democratic notion of unexceptional art as an antidote to the problems of aesthetic exceptionalism.Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the leadTrade Review"De Boever’s work offers an ongoing intellectual and critical project."—Collateral

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Book SynopsisIn light of current discourses on AI and robotics, what do the various experiences of art contribute to the rethinking of technology today?Art and Cosmotechnics addresses the challenge of technology to the existence of art and traditional thought, especially in light of current discourses on artificial intelligence and robotics. It carries out an attempt on the cosmotechnics of Chinese landscape painting in order to address this question, and further asks: What is the significance of shanshui (mountain and water) in face of the new challenges brought about by the current technological transformation? Thinking art and cosmotechnics together is an attempt to look into the varieties of experiences of art and to ask what these experiences might contribute to the rethinking of technology today.Trade Review "This book opens the way to rethinking technology beyond Gestell, by exploring the obscure paths of the experience of art."—Augustin Berque, author of Thinking Through Landscape "Art and Cosmotechnics is a must-read, especially for Westerners, to unlock the transformative potential of art vis-à-vis technologies."—Neural "Yuk Hui has played a key role in creating a framework within which current art-historical discourse regarding this vital subject can thrive."—Leonardo Reviews

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Book SynopsisThe first comprehensive study of this innovative and interactive multimedia artist The artistic practice of Piotr Szyhalski encompasses an impressive array of media and genres: from poster design to experimental music, from interactive web-based art to large-scale conceptual installations, from public performance to innovative pedagogy. His commitment to viewer engagement with art and meaning making characterizes all of his work, which constantly strives to advance the multiplicities and complexities of our understandings. “We Are Working All the Time!” he proclaims, both in his graphic design and in his thematic approach to interactive art.Born and trained in Poland, Szyhalski is a vital presence in the Twin Cities. A professor of design and new media art at the Minneapolis College of Art and Design and a codirector of Art(ists) On the Verge, his art and performance push boundaries, embrace contradictions, and welcome participation. This midcareer survey of the work of this iconoclastic visual artist accompanies an exhibition of his art at the Weisman Art Museum in 2020.Contributors: Karine Léonard Brouillet, Montreal Museum of Fine Art; Emily Ruth Capper, U of Minnesota; Steve Dietz, Northern Lights.mn; Theresa Downing, U of Minnesota; Michael Gallope, U of Minnesota.

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Book SynopsisExamines how images of accumulation help open up the climate to political mobilization The current epoch is one of accumulation: not only of capital but also of raw, often unruly material, from plastic in the ocean and carbon in the atmosphere to people, buildings, and cities. Alongside this material growth, image-making practices embedded within the fields of art and architecture have proven to be fertile, mobile, and capacious. Images of accumulation help open up the climate to cultural inquiry and political mobilization and have formed a cultural infrastructure focused on the relationships between humans, other species, and their environments.The essays in Accumulation address this cultural infrastructure and the methodological challenges of its analysis. They offer a response to the relative invisibility of the climate now seen as material manifestations of social behavior. Contributors outline opportunities and ambitions of visual scholarship as a means to encounter the challenges emergent in the current moment: how can climate become visible, culturally and politically? Knowledge of climatic instability can change collective behavior and offer other trajectories, counteraccumulations that draw the present into a different, more livable, future.Contributors: Emily Apter, New York U; Hans Baumann; Amanda Boeztkes, U of Guelph; Dominic Boyer, Rice U; Lindsay Bremner, U of Westminster; Nerea Calvillo, U of Warwick; Beth Cullen, U of Westminster; T. J. Demos, U of California, Santa Cruz; Jeff Diamanti, U of Amsterdam; Jennifer Ferng, U of Sydney; Jennifer Gabrys, U of Cambridge; Ian Gray, U of California, Los Angeles; Gökçe Günel, Rice U; Orit Halpern, Concordia U; Gabrielle Hecht, Stanford U; Cymene Howe, Rice U; Wendy Hui Kyong Chun, Simon Fraser U; Robin Kelsey, Harvard U; Bruno Latour, Sciences Po, Paris; Hannah le Roux, U of the Witwatersrand, Johannesburg; Stephanie LeMenager, U of Oregon; Nashin Mahtani; Kiel Moe, McGill U; Karen Pinkus, Cornell U; Stephanie Wakefield, Life U; McKenzie Wark, The New School; Kathryn Yusoff, Queen Mary U of London.

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Book SynopsisA sustained engagement between contemporary art and philosophy relating to our place in, and responsibility to, the nonhuman world How do contemporary art and theory contemplate the problem of the “bio” of biopolitics and bioart? How do they understand the question of “life” that binds human and nonhuman worlds in their shared travail? In Art and Posthumanism, Cary Wolfe argues for the reconceptualization of nature in art and theory to turn the idea of the relationship between the human and the planet upside down.Wolfe explores a wide range of contemporary artworks—from Sue Coe’s illustrations of animals in factory farms and Eduardo Kac’s bioart to the famous performance pieces of Joseph Bueys and the video installations of Eija-Liisa Ahtila, among others—examining how posthumanist theory can illuminate, and be illuminated by, artists’ engagement with the more-than-human world. Looking at biological and social systems, the question of the animal, and biopolitics, Art and Posthumanism explores how contemporary art rivets our attention on the empirically thick, emotionally charged questions of “life” and the “living” amid ecological catastrophe.One of the foremost theorists of posthumanism, Wolfe pushes that philosophy out of the realm of the purely theoretical to show how a posthumanist engagement with particular works and their conceptual underpinnings help to develop more potent ethical and political commitments. Trade Review "Conversational in style yet highly ambitious in its ideas, this inspiring collection explores different ways of being in the world for humans and nonhumans alike. Cary Wolfe provides a unique approach to thinking both about art and with art—but also a new possibility for seeing and sensing the world through art."—Joanna Zylinska, King’s College London "Cary Wolfe is one of the few animal studies scholars thoroughly fluent in the complex language of contemporary visual arts culture, and he brings his talents for exquisite prose to Art and Posthumanism. I can think of no more valuable volume for makers engaged in the culture of interspecific ecological entanglements."—Mark Dion, visual artist "This important book provides readers with fascinating, crisscrossing paths into Wolfe’s entanglement of contemporary art world and posthumanist theory."—Ecozon@Table of ContentsContentsPreface1. In Lieu of an Introduction: A Conversation with Giovanni AloiPart I. Systems: Social, Biological, Ecological2. Lose the Building: Meaning and Form in Diller and Scofidio’s Blur3. Time as Architectural Medium: Koolhaas and Mau’s Tree City4. The Installation That Almost Ate MePart II. “The Animal”5. From Dead Meat to Glow-in-the-Dark Bunnies: Seeing “The Animal Question” in Contemporary Art6. Apes Like Us7. Condors at the End of the World: Rethinking Environmental Art8. Each Time Unique: The Poetics of ExtinctionPart III. The Biopolitical9. What Is the Bio- of Biopolitics and Bioart?10. No Immunity: The Biopolitical Worlds of Eija-Liisa Ahtila11. The Miracle of the Familiar: A Conversation with Eija-Liisa Ahtila12. The Biopolitical Drama of Joseph Beuys NotesIndex

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Book SynopsisSeeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-François Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber.Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.Trade Review"In this moment when quarantines, lockdowns, masking, and social distancing regulations put a premium on the haptic, Timothy Murray’s book showcases the aesthetic exuberance and technical mastery of cutting-edge media artists who touch us through our screens. Tactical as well as tactile, touch, for Murray, is both active and activist—feminist, queer, anti-racist, anti-colonial, and anti-capitalist. Drawing from decades of theorizing, critiquing, researching, curating, and archiving at the intersection of the digital and the performative, Murray argues for the essential significance of the improvisational turn from Hong Kong, Singapore, Taiwan, South Korea, the Philippines, India, Palestine, Australia, Bolivia, and Ghana to New York and far beyond. Murray introduces us to a world of media artists to embrace… if only virtually." —Gina Marchetti, author of Citing China: Politics, Postmodernism, and World Cinema "In Technics Improvised, Timothy Murray brings together, revises, and remediates previously published essays, improvising an epistemological reading of five decades of what he terms new media art’s ‘incorporeal materiality.’ The first-person perspective Murray brings to his subject matter is invaluable: it reflects his participation-observation in the archive that he dis/assembles, his activating work against the enclosure of ‘new media’ as historical object." —Amy Sara Carroll, author of REMEX: Toward an Art History of the NAFTA Era "Murray uses his book to introduce artists working in digital and electronic media and traces their struggle against the government surveillance and corporate culture that control digital tools." —Cornell ChronicleTable of ContentsPrefaceProlegomenon: When the Future Ain’t What It Used to Be, or New Media at Risk and the Improvisations of Art Part I. Activating Technics through Emergent Media1. Tactical Tools: From Fantasy of the Open to Networked Activism2. Ecotechnic Touch: Thinking Technics with Jean-Luc Nancy and Ryoji Ikeda 3. Archival Events: Situated Surfaces of New Medialized ArtPart Two. Critical Performance and the Temporality of Touch4. Clones: Genomic Simulacra in the Age of Recombinant Bodies5. Like a Prosthesis: Critical Performance @ Digital Deleuze6. Futurities, Uncertain: Screening Theatrical PhantasmsEpilogue. Future Fever, the Exposition: Ten Epistemological FictionsAcknowledgmentsNotesPublication HistoryIndex

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Book SynopsisSeeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-François Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber.Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.Trade Review"In this moment when quarantines, lockdowns, masking, and social distancing regulations put a premium on the haptic, Timothy Murray’s book showcases the aesthetic exuberance and technical mastery of cutting-edge media artists who touch us through our screens. Tactical as well as tactile, touch, for Murray, is both active and activist—feminist, queer, anti-racist, anti-colonial, and anti-capitalist. Drawing from decades of theorizing, critiquing, researching, curating, and archiving at the intersection of the digital and the performative, Murray argues for the essential significance of the improvisational turn from Hong Kong, Singapore, Taiwan, South Korea, the Philippines, India, Palestine, Australia, Bolivia, and Ghana to New York and far beyond. Murray introduces us to a world of media artists to embrace… if only virtually." —Gina Marchetti, author of Citing China: Politics, Postmodernism, and World Cinema "In Technics Improvised, Timothy Murray brings together, revises, and remediates previously published essays, improvising an epistemological reading of five decades of what he terms new media art’s ‘incorporeal materiality.’ The first-person perspective Murray brings to his subject matter is invaluable: it reflects his participation-observation in the archive that he dis/assembles, his activating work against the enclosure of ‘new media’ as historical object." —Amy Sara Carroll, author of REMEX: Toward an Art History of the NAFTA Era "Murray uses his book to introduce artists working in digital and electronic media and traces their struggle against the government surveillance and corporate culture that control digital tools." —Cornell ChronicleTable of ContentsPrefaceProlegomenon: When the Future Ain’t What It Used to Be, or New Media at Risk and the Improvisations of Art Part I. Activating Technics through Emergent Media1. Tactical Tools: From Fantasy of the Open to Networked Activism2. Ecotechnic Touch: Thinking Technics with Jean-Luc Nancy and Ryoji Ikeda 3. Archival Events: Situated Surfaces of New Medialized ArtPart Two. Critical Performance and the Temporality of Touch4. Clones: Genomic Simulacra in the Age of Recombinant Bodies5. Like a Prosthesis: Critical Performance @ Digital Deleuze6. Futurities, Uncertain: Screening Theatrical PhantasmsEpilogue. Future Fever, the Exposition: Ten Epistemological FictionsAcknowledgmentsNotesPublication HistoryIndex

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Book SynopsisHow fluorescent orange symbolizes the uneven distribution of safety and risk in the neoliberal United States Safety Orange first emerged in the 1950s as a bureaucratic color standard in technical manuals and federal regulations in the United States. Today it is most visible in the contexts of terror, pandemic, and environmental alarm systems; traffic control; work safety; and mass incarceration. In recent decades, the color has become ubiquitous in American public life—a marker of the extreme poles of state oversight and abandonment, of capitalist excess and dereliction. Its unprecedented saturation encodes the tracking of those bodies, neighborhoods, and infrastructures judged as worthy of care—and those deemed dangerous and expendable. Here, Anna Watkins Fisher uses Safety Orange as an interpretive key for theorizing the uneven distribution of safety and care in twenty-first-century U.S. public life and for pondering what the color tells us about neoliberalism’s intensifying impact often hiding in plain sight in ordinary and commonplace phenomena. Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.Trade Review"In an age when so many books of aesthetic and critical theory feel not only dense but several degrees removed from things that matter in daily life, Safety Orange stands apart. It’s a convincing kind of argument that makes you see things differently, be they artworks, the United States, or urban detritus on your daily walk."—Art in AmericaTable of ContentsIntroduction: Ordinary Life on High Alert1. Orange You Glad You Live in America: The United States of Perpetual Risk2. Orange beyond Orange: Normalizing Catastrophe in Public Risk Communication3. An Infrastructural Band-Aid: Outsourcing State Accountability4. Orange Is the New Profiling Technology5. Orange Applied: Artistic AppropriationsConclusion: Seeing RedAcknowledgmentsBibliography

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Book SynopsisFrom the late editor, writer, and critic, one of the great chroniclers of the art, fashion, and celebrity scenes: an expansive collection of thirty-five essays that offer an intimate look into the worlds of some of the most important and well-known artists, designers, and actors of our time.For more than three decades, Ingrid Sischy''s profiles and critical essays have been admired for their keen observation and playful style. Many of the pieces that appeared in The New York Times Magazine, The New Yorker, and Vanity Fair from the 1980s to 2015 are gathered here for the first time, including her masterful profiles of Nicole Kidman, Kristen Stewart, Miuccia Prada, Calvin Klein, Jeff Koons, Jean Pigozzi, Alice Neel, and Francesco Clemente, among others, as well as her exclusive interview with John Galliano after his career nose-dived in 2011. Whether writing about a young Alexander McQueen, the photography of Robert Mapplethorpe, Sebastião Salgado, Cindy Sherman, or Bob Richardson, or the Japanese musical theater group Takarazuka Revue, Sischy''s close attention to the unexpectedly telling detail results in vividly crafted, incisive portraits of individuals and their works. Here is a unique collection that gives readers unprecedented access to a dazzling range of artists from one of the greatest cultural critics of a generation.

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Book Synopsis100 street style postcards from the legendary photo archives of fashion photographer Bill Cunningham.  This stylish, 100-postcard box features 50 iconic images, in a mix of black-and-white and color, taken by renowned street style photographer Bill Cunningham. These photos from the New York Times bestseller Bill Cunningham: On the Street capture eye-catching accessories and striking street-style silhouettes through the ages, perfect for sending notes to fellow fashionistas, using as wall decor, or simply appreciating the work of a legend.

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Book SynopsisGrammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida’s and Freud’s concept of the trace as that which must be thought before something exists. In doing so, she illuminates the threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel’s approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art.Table of ContentsNote to the English-Language Edition | vii List of Figures | ix Introduction: Toward a Grammatology of Images | 1 1 The Trace and the Current Revaluation of Lines | 15 2 Faces: Between Trace and Image, Encoding and Measurement | 43 3 Indexical Images: Trace, Resemblance, and Code | 84 4 Effigiēs: Double, Representation, and the Supplementary Economy of the Likeness (Ebenbild) | 101 5 Defamatory Images: Disfiguration in Physiognomy and Caricature’s Two Bodies | 118 6 Cult Images: Iconoclastic Controversy, the Desire for Images, and the Dialectic of Secularization | 170 7 Angels: Images of Making-Appearance between Religion, Art, and Science | 202 8 Perspectives of the Grammatology of Images beyond Visual Culture | 264 Notes | 275 Bibliography | 319 Index | 347

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Book SynopsisGrammatology of Images radically alters how we approach images. Instead of asking for the history, power, or essence of images, Sigrid Weigel addresses imaging as such. The book considers how something a-visible gets transformed into an image. Weigel scrutinizes the moment of mis-en-apparition, of making an appearance, and the process of concealment that accompanies any imaging. Weigel reinterprets Derrida’s and Freud’s concept of the trace as that which must be thought before something exists. In doing so, she illuminates the threshold between traces and iconic images, between something immaterial and its pictorial representation. Chapters alternate between general accounts of the line, the index, the effigy, and the cult-image, and case studies from the history of science, art, politics, and religion, involving faces as indicators of emotion, caricatures as effigies of defamation, and angels as embodiments of transcendental ideas. Weigel’s approach to images illuminates fascinating, unexpected correspondences between premodern and contemporary image-practices, between the history of religion and the modern sciences, and between things that are and are not understood as art.Table of ContentsNote to the English-Language Edition | vii List of Figures | ix Introduction: Toward a Grammatology of Images | 1 1 The Trace and the Current Revaluation of Lines | 15 2 Faces: Between Trace and Image, Encoding and Measurement | 43 3 Indexical Images: Trace, Resemblance, and Code | 84 4 Effigiēs: Double, Representation, and the Supplementary Economy of the Likeness (Ebenbild) | 101 5 Defamatory Images: Disfiguration in Physiognomy and Caricature’s Two Bodies | 118 6 Cult Images: Iconoclastic Controversy, the Desire for Images, and the Dialectic of Secularization | 170 7 Angels: Images of Making-Appearance between Religion, Art, and Science | 202 8 Perspectives of the Grammatology of Images beyond Visual Culture | 264 Notes | 275 Bibliography | 319 Index | 347

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Book SynopsisAn exciting new reflection on the role of artistic collaboration, collectivism, and the politics of group formation in the neoliberal era. The artist and author Ethan Philbrick’s Group Works re-imagines the group by undertaking an historiographic archaeology of group aesthetics and politics. Written against both phobic and romantic accounts of collectivity, Group Works contends that the group emerges as a medium for artists when established forms of collective life break down. Philbrick pairs group pieces in dance, literature, film, and music from the 1960s and 1970s downtown Manhattan scene alongside a series of recent group experiments: Simone Forti’s dance construction, Huddle (1961), is put into relation with contemporary re-performances of Forti’s score and huddling as a feminist political tactic; Samuel Delany’s memoir of communal living, Heavenly Breakfast: An Essay on the Winter of Love (1969/78), speaks to performance artist Morgan Bassichis’s 2017 communal musical adaptation of Larry Mitchell’s 1977 text, The Faggots and Their Friends Between Revolutions; Lizzie Borden’s experimental documentary of feminist collectivity, Regrouping (1976), sits alongside visual artist Sharon Hayes’s 2014 piece on Manhattan’s Pier 54, Women of the World Unite! they said; and Julius Eastman’s insurgent piece of chamber music for four pianos, Gay Guerrilla (1979), resonates alongside contemporary projects that take up Eastman’s legacy by artists such as Tiona Nekkia McClodden. By analyzing works that articulate the politics of race, gender, and sexuality as questions of group formation, Philbrick approaches the group not as a stable, idealizable entity but as an ambivalent way to negotiate and contest shifting terms of associational life. Group Works presents an engaging exploration of what happens when small groups become a material and medium for artistic and political experimentation.Table of ContentsIntroduction | 1 1. Huddle | 25 2. Commune | 51 3. Groupuscule | 84 4. Ensemble | 113 Afterword | 141 Acknowledgments | 145 Notes | 147 Index | 169

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Book SynopsisAn exciting new reflection on the role of artistic collaboration, collectivism, and the politics of group formation in the neoliberal era. The artist and author Ethan Philbrick’s Group Works re-imagines the group by undertaking an historiographic archaeology of group aesthetics and politics. Written against both phobic and romantic accounts of collectivity, Group Works contends that the group emerges as a medium for artists when established forms of collective life break down. Philbrick pairs group pieces in dance, literature, film, and music from the 1960s and 1970s downtown Manhattan scene alongside a series of recent group experiments: Simone Forti’s dance construction, Huddle (1961), is put into relation with contemporary re-performances of Forti’s score and huddling as a feminist political tactic; Samuel Delany’s memoir of communal living, Heavenly Breakfast: An Essay on the Winter of Love (1969/78), speaks to performance artist Morgan Bassichis’s 2017 communal musical adaptation of Larry Mitchell’s 1977 text, The Faggots and Their Friends Between Revolutions; Lizzie Borden’s experimental documentary of feminist collectivity, Regrouping (1976), sits alongside visual artist Sharon Hayes’s 2014 piece on Manhattan’s Pier 54, Women of the World Unite! they said; and Julius Eastman’s insurgent piece of chamber music for four pianos, Gay Guerrilla (1979), resonates alongside contemporary projects that take up Eastman’s legacy by artists such as Tiona Nekkia McClodden. By analyzing works that articulate the politics of race, gender, and sexuality as questions of group formation, Philbrick approaches the group not as a stable, idealizable entity but as an ambivalent way to negotiate and contest shifting terms of associational life. Group Works presents an engaging exploration of what happens when small groups become a material and medium for artistic and political experimentation.Table of ContentsIntroduction | 1 1. Huddle | 25 2. Commune | 51 3. Groupuscule | 84 4. Ensemble | 113 Afterword | 141 Acknowledgments | 145 Notes | 147 Index | 169

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Book SynopsisExplores the ambiguities and contradictions that disrupt the assumed boundaries of battle zonesAgainst the fabric of suffering that unfolds around more spectacular injuries and deaths, The War In-Between studies visual depictions of banal, routine, or inscrutable aspects of militarized violence. Spaces of the in-between are both broader and much less visible than battlefields, even though struggles for survival arise out of the same conditions of structural violence. Visual artifacts including photographs, video, data visualizations, fabric art, and craft projects provide different vantage points on the quotidian impacts of militarism, whether it is the banality of everyday violence for non-combatants or the daily struggles of soldiers living with physical and emotional trauma.Three interrelated concepts frame the book's attempt to stay in the moment of looking at visual cultures of survival. First, the concept of the war in-between captures those interstit

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Book SynopsisExplores the ambiguities and contradictions that disrupt the assumed boundaries of battle zonesAgainst the fabric of suffering that unfolds around more spectacular injuries and deaths, The War In-Between studies visual depictions of banal, routine, or inscrutable aspects of militarized violence. Spaces of the in-between are both broader and much less visible than battlefields, even though struggles for survival arise out of the same conditions of structural violence. Visual artifacts including photographs, video, data visualizations, fabric art, and craft projects provide different vantage points on the quotidian impacts of militarism, whether it is the banality of everyday violence for non-combatants or the daily struggles of soldiers living with physical and emotional trauma. Three interrelated concepts frame the book's attempt to stay in the moment of looking at visual cultures of survival. First, the concept of the war in-between captures those interstitial spaces of war where vi

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Book SynopsisScoundrels, Cads, and Other Great Artists examines the lives of 12 great artists who were less than exemplary human beings in their lives outside of their art. It explores the question, “Why do we like magnificent art from artists who were awful human beings?” For example, the great Baroque painter, Caravaggio, who developed the chiaroscuro style of painting, was in constant trouble with the law, even having killed a man in a dual. Frederick Remington, the great painter of the American West, was an incredible racist and bigot. His evocative paintings of native Americans on the trail on horseback give no hint of Remington’s enmity toward them or other ethnic groups in America. John James Audubon? He mostly shot the birds he painted; if in doing so, he damaged a part that he wanted to paint, he shot another one. Whistler and Courbet were philanderers and libertines. Scoundrels introduces people to great art by showing the more salacious side of the personal lives of great artists over time. The book not only tells the stories of a dozen artists, but explores how to look at art and the separation between art and artist. This lively narrative is enhanced by over 100 full-color reproductions of great paintings and details from them.

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Book SynopsisA readable guide to the art of looking at art.There’s an art to viewing art. A sizable portion of the population regards art with varying degrees of reverence, bewilderment, suspicion, contempt, and intimidation. Most people aren’t sure what to do when standing before a work of art, besides gaze at it for what they hope is an acceptable amount of time, and even those who visit galleries and museums regularly aren’t always as well versed as they wish they could be. This book will help remedy that situation and answer many of the most frequently asked questions pertaining to the matter of art in general: When was the first art made? Who decides which art is “for the ages”? What is art’s purpose? How do paintings get to be worth tens of millions of dollars? Where do artists get their ideas? The Art of Viewing Art addresses these and countless more of the issues surrounding this frequently misunderstood microcosm, in a highly informative, yet conversational tone. History, fascinating and altogether human backstories, and information pertaining to every conceivable aspect of visual art are interwoven in twelve concise chapters, providing all the information the average person needs to comfortably approach, analyze, and appreciate art. Readers with a background in art will learn a few new things as well. This beautiful full-color book includes 45 full-page reproductions. Table of ContentsTable of ContentsIntroductionChapter One—Ten Reasons to Appreciate ArtChapter Two—the First 95% of Art History—Prehistoric ArtChapter Three—From Artisan to Artist—How Art Became About Self-Expression (It Wasn’t Always)—The Most Recent 5% of Art HistoryChapter Four—“the Place of the Muses”—a Brief History of the MuseumChapter Five—Art vs. Life—How Art and Life Influence One AnotherChapter Six— Art Is Where You Find It—Where Artists Find InspirationChapter Seven—This Is Your Brain on Art—the Human Brain and the Creative ProcessChapter Eight—The 13 or So Traits of Creative People (According to Me)Chapter Nine—Self-Expression for Sale—Art and the MarketplaceChapter Ten—“We the People” As Patron of the Arts—Government’s Role in the ArtsChapter Eleven—Listening to Art, Even When It Isn’t Speaking to You—Understanding “Difficult” ArtChapter Twelve— What to Look for When You Look at Art—Art AppreciationAppendix A: Finding Art to Look AtAppendix B: Prehistoric TimelineAppendix C: Timeline of Art MovementsSelected BibliographyIndex

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Book Synopsis

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Book Synopsis

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Book Synopsis A master draughtsman, artist Evan Macdonald had extraordinary facility as a painter, printmaker, and book illustrator. Born in Guelph, Ontario, in 1905, to one of the city's founding Scottish families, Macdonald was a young contemporary of the Group of Seven and pursued his practice in Canada during the Great Depression. He joined the Second World War as an artist-soldier. After the war, Macdonald became a professional portraitist, fulfilling commissions from heads of government, industry, and academia. His paintings chronicling the destruction of Guelph's historical buildings in the 1950s and 60s both celebrate industrial progress and lament the loss of nineteenth-century craftsmanship. Evan Macdonald: A Painter's Life is a richly illustrated chronicle of Macdonald's life and work from the perspective of the artist's daughter, Flora Macdonald Spencer, whose insightful essay creates a lasting image of a great Canadian artist. The book offers a unique perspective on the history of Guelph as well as commentary on one of the city's founding families, their Scottish ancestry, and the establishment and evolution of twentieth-century social and cultural ideals. Co-published with the Macdonald Stewart Art Centre Trade Review``A Painter's Life is a shot in the arm for any creative soul who feels blocked or uninspired. It's for those of us who, when staring at a blank screen or pristine canvas, point to our family or job as an excuse for our poor productivity. It's easy to relate to Evan Macdonald in this book. He too railed against the limitations of business and domestic life. The difference is that, instead of holding out for the perfect time and place to create, he took every opportunity to develop his craft. He also opened his mind to depicting the people and places that surrounded him. The result is a range of unpretentious works that reveal the artist's skilled hand and fresh vision. The story of Evan Macdonald reminds us to enjoy making art. And what's possible if just open your eyes, focus on what interests you, and get to work.'' -- Deb Davis, painter and writer (Guelph, Ontario) -- 200809``The study reflects the commitment of both the art gallery and the university press to significant regional achievement in the arts.... Intimate, personal and affectionate.'' -- Robert Reid -- Guelph Mercury, September 22, 2008, 200809``There is an intimacy, a quiet fierceness in a daughter's watching of her father. A looking upto that escapes language, a stirring in and out of light and dark that gathers among silver mines, walks the edges of Hope Bay, and traces architectural ruins of memory and return. With narratives sketches, Flora Macdonald Spencer revisits and awakens the temporal spaces of Evan Macdonald, to tell what has not been told of her father's lie, a painter's life.'' -- Sorouja Moll, writer, playwright and MA candidate, School of English & TheatreStudies, University of Guelph, Ontario -- 200809Table of Contents Evan Macdonald: A Painter's Life by Flora Macdonald Spencer Remembering Evan Macdonald Judith Nasby Evan Macdonald in Grey and Bruce Counties Stuart Reid Drawn from Life Flora Macdonald Spencer Acknowledgements Appendix 1: Plates Appendix 2: Chronology Appendix 3: Exhibitions Appendix 4: Convocation citation and address Bibliography Index

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Book SynopsisAs religious fervor grows, Dr. Fishwick, a recipient of the Ray and Pat Browne Award for Lifetime Achievement from The American Culture Association, takes a sweeping look at religion in the United States--the country with the highest church attendance in the Western world. Popular religion can take many shapes and forms. It can wax and wane, but it cannot be eliminated or ignored. That is what prompted him to write Great Awakenings: Popular Religion and Popular Culture.He ponders how religion affects American life and popular culture, and why religion has become a major force in contemporary politics. How has the Electronic Revolution furthered the religious right? What does popular religion tell us about popular culture? And about our faith?He identifies and explores five great religious revivals or “Great Awakenings:” the Atlantic Seaboard Awakening the Urban Awakening the Modernist Awakening the Celebrity Preacher Awakening the Electronic AwakeningFishwick explores the current events preceding and during each awakening, its leaders, followers, and critics. Great Awakenings gives a new understanding of the American religious past and leaves us with an anticipation for the next great awakening. Table of ContentsContents Preface Introduction The Atlantic Seaboard Awakening The Appalachian Awakening The Urban Awakening The New American Gospel Confronting the Serpent The Modernist Awakening Civil Religion Secular Salvation Religion on the Airwaves Star to the Stars The Aging Eagle The Electronic Awakening Dixie’s Holy Warriors The Chicken Little Panic Big Mac and Big Jesus: Brave New McWorld Some Final Thoughts Further Information Further Reading Index

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Book SynopsisThe ultimate reference guide for bird lovers or artists, this final volume in the "Denny Rogers Visual Reference Series" presents 200 meticulous and anatomically accurate drawings that capture each magnificent owl from every angle and in multiple poses. Along with comprehensive drawings, you'll find colour charts and photographs - both in-flight and at rest - to help recreate these formidable night-time hunters down to the stripes, speckles and streaks of their feathers. Also included are scale-charts for matching your desired dimensions without sacrificing proportion.Trade ReviewAlthough aimed at artists, owlers will find this book useful. [GrrlScientist comment: I'll bet that at least a few Harry Potter fans will also love this book!]Table of ContentsThe Barn Owl ... 1 Barn Owl Facts ... 2 Drawings ... 4 Measurements ... 4-9,18,20-21,26-27 Feathers ... 10-11,23-25 Color Specifications ... 12-13 Glide Patterns ... 14-17 Anatomy ... 19-20,22 Poses ... 28-66 Reference ... 67 Color Charts ... 68-74 Gallery ... 75-79 Reference Photographs ... 80-81 The Barred Owl ... 83 Barred Owl Facts... 84 Drawings ... 86 Measurements ... 86-87, 89-91,112-113 Anatomy ... 88,100-101,114 Feathers ... 92-93,102-11 Color Specifications ... 94-95 Glide Patterns ... 96-99 Poses ... 115-149 Reference ... 150 Color Charts ... 151-156 Gallery ... 157-161 Reference Photographs ... 162-165 The Great Horned Owl ... 167 Great Horned Owl Facts ... 168 Drawings ... 170 Measurement ... 170-175,184,187,190,194-195 Feathers ... 176-177,191 Dolor Specifications ... 178-179 Glide Patterns ... 180-183 Anatomy ... 185-186,188-189,192-193 Poses ... 196-212 Reference ... 213 Color Charts ... 214-220 Gallery ... 221-226 Reference Photographs ... 227-231 The Science of Flight ... 232-237 Listing of Featured Artists and Contributors ... 238

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Book SynopsisEmploying a remarkable combination of expertise in music, opera, and psychological insight, Eric Plaut explores the great operas and their composers from the time of the French Revolution to the onset of the First World War. He sees opera as the preeminent medium for expressing human willfulness, its characters driven by emotions of passionate intensity. The great composers of opera were also governed by their feelings and heavily influenced by the life of their time. Weaving together these social, psychological, and historical strains, Dr. Plaut investigates the meaning behind eighteen of the greatest operas, including Tristan and Isolde, Madame Butterfly, Tosca, Die Fledermaus, The Barber of Seville, Aida, Tales of Hoffmann, Fidelio, Lucia di Lammermoor, Carmen, Boris Godounov, Otello, Salome, and Faust. At the same time he looks into the lives of their composers, seeking those experiences and characteristics which help to explain both the opera in question and the composer's larger body of works. The result is an unusually satisfying and perceptive view of grand opera, a book that will be essential for opera lovers and informative and entertaining for general readers.Trade ReviewCompletely absorbing...an eminently readable book that flows. -- Ilana Bar-Levav * Contemporary Psychology *Extremely timely...Plaut explores the psychological backgrounds of composers with tight precision. -- Jon Anderson * Chicago Tribune *A fascinating book for anyone who loves opera. -- Ardis Krainik, general director, Lyric Opera of Chicago * The New York Times *

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Book SynopsisWell over a thousand years old, the tradition of swordmaking in Japan is one of the most highly regarded metal crafts in the world. When all sword manufacture was prohibited in Japan for seven years after World War II, the age-old techniques were in danger of being lost forever. Today, in the hands of a new generation of practitioners, the craft is making a startling comeback. Connoisseurs say that the swords being produced now are the equal of anything made in Japan in the past few hundred years. This book takes the reader into the workshops of four of Japan's

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Book SynopsisJohn Funge introduces a new approach to creating autonomous characters. Cognitive modeling provides computer-animated characters with logic, reasoning, and planning skills. Individual chapters in the book provide concrete examples of advanced character animation, automated cinematography, and a real-time computer game. Source code, animations, images, and other resources are available at the book's website, listed below.Table of ContentsForeword -- Preface -- 1 Introduction -- 1.1 Cognitive Character -- 1.2 Domain Knowledge -- 1.3 Character Instruction -- 1.4 Knowledge Acquisition -- 1.5 Phenomenology -- 1.6 Implementation -- 1.7 Other Models -- 2 Background -- 2.1 Geometric Models -- 2.2 Kinematic Control -- 2.3 Physical Models -- 2.4 Noninterpenetration -- 2.5 Biomechanical Mode -- 2.6 Behavior and Cognitive Model -- 2.7 Notes -- 3 Domain Knowledge -- 3.1 Mathematical Logic -- 3.2 Situation Calculus -- 3.3 D iscussion -- 3.4 Notes -- 4 Sensing -- 4.1 Knowledge Producing Actions. -- 4.2 Interval Arithmetic -- 4.3 Interval-valued Epistemic Fluents -- 4.4 Inaccurate Sensors -- 4.5 Sensing Changing Values -- 4.6 Correctness -- 4.7 Operators for Interval Arithmetic -- 4.8 Knowledge of Terms -- 4.9 Usefulness -- 4.10 Notes -- 5 Character Instruction -- 5.1 Predefined Behavior -- 5.2 Goal-directed Behavior -- 5.3 The Middle Ground -- 5.4 A Simple Tutorial Example: Maze Solving -- 5.5 D iscussion -- 5.6 Notes -- 6 Learning -- 6.1 Machine Learning -- 6.2 Creating a Training Set -- 6.3 Representation of the Learned Function -- 6.4 Learning Algorithm -- 6.5 D iscussion -- 6.6 Notes -- 7 Putting It All Together -- 7.1 A Predefined Behavior Layer -- 7.2 Interface. -- 7.3 Roiling Forward -- 7.4 Embedding Goal-directed Behavior -- 7.5 Intelligent Flocks -- 7.6 Notes -- 8 CML -- 8.1 Precondition and Effect Axioms -- 8.2 Complex A ctioNS -- 8.3 Discussion -- 8.4 Notes -- 9 Cinematography -- 9.1 Automated Cinematography -- 9.2 Implementation -- 9.3 Discussion -- 9.4 Notes -- 10 Prehistoric World -- 10.1 The Prehistoric World -- 10.2 Effect A xioms -- 10.3 Precondition A xiomS -- 10.4 Character Instruction -- 10.5 Implementation. -- 10.6 D iscussion -- 10.7 Notes -- 11 Undersea world -- 11.1 D iscussion -- 11.2 Overview -- 11.3 Evasion BehavioR -- 11.4 The Great Escape -- 11.5 Pet Protection -- 11.6 General Melee -- 11.7 Visibility Testing -- 11.8 Low-level System Implementation -- 11.9 Discussion -- ll.lONotes -- 12 Conclusion -- 12.1 AI Accelerator cards -- 12.2 R obotics. -- 12.3 Electronic Commerce and Web Avatars. -- 12.4 Other Applications. -- 12.5 Conclusion -- Bibliography -- Index.

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