The arts: general topics Books

Book SynopsisManaging cultural organizations requires insight into a range of areas including marketing, fundraising, programming, finances, and leadership. This book integrates practical and theoretical insights, blending academic and practitioner voices to help readers speak the language in the creative industries.Including coverage of the management of theaters, dance companies, galleries, and performance spaces, evaluation, marketing, fundraising, activism, and policy, the book benefits from a range of features, including: Scenarios to help orient readers to common arts management problems Ethical dilemmas discussed in every chapter Study questions to enable students to review the skills learned Experiential exercises to gain experience and apply skills Emphasis on cross-cultural and transferrable skills Integration of international perspectives Suggested additionaTrade Review"This is now a central book on this subject, and a leader in terms of its international multi-author and authoritative explication of every major dimension of management, organisation, and production of the arts. It pushes beyond the traditional topics of ‘arts management’ to include the vital subjects of leadership, policy, law, and community engagement." Jonathan Vickery, Director, Centre for Cultural and Media Policy Studies, University of Warwick, UK "An excellent resource both for students looking to understand how the arts are approached and managed in the world today, as well as for practitioners looking to expand their understanding of how arts management works. The international perspective brings knowledge from around the world to inform readers of best practices and the theories that support them. Regardless of the specific artform one works in, this book is a vital resource that explores both the peculiarities of arts management in general as well as exploring the unique positions that are discipline specific." Anthony Rhine, Clinical Associate of Management, Pace University, USA "This highly readable and impeccably researched volume is a tremendous addition to the arts and culture literature. A consistent and much-appreciated effort has been made to unite research and practice as necessary and complementary parts of the same whole, providing readers with vital tools that are grounded in time-tested theory." Travis Newton, Le Moyne College, USA and author of Orchestra Management Handbook "The book provides a holistic perspective on creative industries, both in terms of theory and practice, also covering different sectors and specializations. Creative industries were at the frontline during the pandemics and better understanding like the one provided by this book is extremely needed to fully support their recovery and growth. The diversity of authors in terms of expertise and focus exhibits the right combination of attributes to make out of this book an outstanding contribution to the field of cultural management." Montserrat Pareja-Eastaway, University of Barcelona, Spain "This textbook provides a timely look at multiple facets of the creative industries with international representation, in a way that speaks to the increasing overlap of theoretical and practical work. At a time when practitioners are expected to know and benefit from past lessons in the field, it will equip readers with those lessons and the ability to articulate the theoretical underpinnings of their management decisions." Brea Heidelberg, Drexel University, USA Table of ContentsPart I Cultural Management Practices 1. Financial Management for Decision-Making in the Arts Constance DeVereaux 2. Fundraising in the Arts Victoria D. Alexandra and Oonagh Murphy 3. Arts Marketing David Ocón 4. Facilities Management Jim Richerson 5. Evaluation in the Arts Annabel Jackson Part II Performing and Visual Arts Management 6. Managing Art Galleries Melissa Rachleff 7. Theatre Management through Successful Collaboration Patrick J. Ebewo and Rachael Diang'a 8. Orchestra Leadership Njörður Sigurjónsson 9. Festival Management Practices Olga Kolokytha 10. Cultural Work Johanna Schindler Part III Law, Policy, and Advocacy 11. Cultural Policy Constance DeVereaux 12. Art Activism and Community Engagement Simone Wesner 13. Law and the Arts Constance DeVereaux

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Book SynopsisThis timely collection of accessible essays interrogate queer television at the start of the twenty- first century. The complex political, cultural, and economic milieu requires new terms and conceptual frameworks to study television and media through a queer lens. Gathering a range of well-known scholars, the book takes on the relationship between sexual identity, desire, and television, breaking new ground in a context where existing critical vocabularies and research paradigms used to study television no longer hold sway in the ways they used to. The anthology sets out to confound conventional categories used to organize queer television scholarship, like programming, industry, audience, genre, and activism. Instead, the anthology offers four interpretive frames historicity, temporal play, ideological limitation and industrial contextualization in the interest of creating new queer tools for studying digital television in the contemporary age. This collection is suitableTable of ContentsPart I: Historicity: Placing Television Programming and Practices in Historical Context1: "Queer Power: Multicultural Empowerment Narratives on Digital-Era TV," Ron Becker2: "Briggs, Family, Queer," Melissa Hardie and Amy Villarejo3: "In the Queer-View Mirror: Looking at 1991," Nick Salvato4: "Like Living In a Different Time Zone": SBS’s Queer Orientations," Robert PaynePart II: Temporal Play: Queer Histories and Possibilities5: "Making Things Perfectly Sketch: Reflexive Queer and Trans Themes in Sketch Comedy," Candace Moore 6: "Realizing Unrealizable Joy: Forming Queer Utopia in The Fathers Project," Hunter Hargraves7: "Murdering Our Queer Past," Bridget Kies8: "Obscure Temporalities: Dark and the Queering of Time Travel," Michael DeAngelisPart III: Ideological Limitations: The Boundaries of What’s Possible9: "The Television-Industrial Closet," Julia Himberg 10: "TV’s Ins and Outs, or (Bat) Signals and (Caped) Crusades," Lynne Joyrich 11: "How do Trans Men Make Babies? Transkids and Reproductive Fantasies," Slava Greenberg 12: "Queer Aesthetics in the Streaming Age," Jake Pitre Part IV: Industrial Contextualization: Studying Production Processes13: "Televising Lesbian Feminist Love-Politics on Dyke TV," Lauren Herold 14: "Producing Inclusion and Intersectionality: Queer Showrunners of Color in Contemporary Television," Sarah E. S. Sinwell15: "Living in the Gray Area: Bisexual Resignifications in Desiree Akhavan’s The Bisexual," Maria San Filippo 16: "Visual Pleasure and Video-Sharing Platforms: If I Was Your Girl and the Representation of Black Sexuality," Faithe J. Day

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Book SynopsisThe Eurovision Song Contest is famous for its camp spectacles and political intrigues, but what about its actual music? With more than 1,500 songs in over 50 languages and a wide range of musical styles since it began in 1956, Eurovision features the most musically and linguistically diverse song repertoire in history.Listening closely to its classic fan favorites but also to songs that scored low because they were too different or too far ahead of their time, this book delves into the musical tastes and cultural values the contest engages through its international reach and popular appeal. Chapters discuss the iconic fanfare that introduces the broadcast, the supposed formulas for composing successful contest entries, how composers balance aspects of sameness and difference in their songs, and the tension between national genres of European popular music and musical trends beyond the nation's borders, especially the American influences on a show that is supposed to celeTrade Review'This thoroughly researched book provides a much-needed focus on the music presented in the Eurovision Song Contest. In his accessibly written, yet precise, in-depth analyses, the author displays keen insights into a wide range of matters of musical style and cultural significance. Mapping out the multitude of ways in which Eurovision music can articulate themes of unity, diversity, and conflict, this book provides a fascinating account conveying a rich understanding of the power of popular music and popular musicking.'Alf Björnberg, Professor in Musicology, University of Gothenburg, Sweden‘The title may be Another Song for Europe, and publications on the Eurovision Song Contest may have increased rapidly over recent years, but there is nobody writing on this subject today with more originality and insight than Ivan Raykoff. This book is an absorbing and informative read, and its thoughtful analyses are underpinned by meticulous study and research.’ Derek Scott, Professor of Critical Musicology, University of Leeds.Until now, the flourishing field of Eurovision Song Contest studies has lacked in-depth consideration of Eurovision music itself, doubtless because that music is often dismissed as formulaic, lightweight, and disposable. Ivan Raykoff’s beautifully researched, deeply readable book fills this gap, exploring Eurovision music – focusing on competing songs and including other musics such as the Eurovision anthem - from his disciplinary position as a musicologist, and bringing numerous other relevant methodological and theoretical perspectives to bear. Using the concept of musicking to understand music not as an object or abstraction but an activity, Another Song for Europe considers the way Eurovision music is created, performed, enjoyed, mocked, imitated, and mobilised by a spectrum of interested groups and individuals. In so doing, Raykoff advances knowledge around many of the complex concerns around the song contest: difference and sameness, belonging and exclusion, affect, gender identities and performances, globalisation, and commercialisation. While Another Song for Europe will be of great interest to scholars and students, aspiring Eurovision artists and television producers should also take note, given the book’s thorough engagement with the question that continues to drive the contest six and half decades after its founding: How do you write a perfect Eurovision song? Karen Fricker, Associate Professor of Dramatic Arts, Brock University, Ontario, CanadaTable of Contents1. Prelude 1a. Anthem 2. Musicking 2a. Flashmob 3. Formulas 3a. Parody 4. Sameness 4a. Europop 5. Difference 5a. Aesthetics 6. Values 6a. Coda

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This book examines the ways in which luxury fashion brands use their heritage in their digital storytelling and marketing.With chapters from authors in China and Macau (PRC), India, Romania, Turkey, the United Kingdom, and the United States, covering British, Chinese, French, Japanese, Indian, Italian, and Turkish brands, this truly global collection is the first book of its kind devoted solely to the emerging study of digital heritage storytelling. This method of reaching potential consumers and perpetuating brand identity is a hugely important factor in the marketing of luxury brands and has yet to be studied comprehensively.The book will be of interest to scholars working in fashion studies, fashion history, design history, design studies, digital humanities, and fashion marketing.

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Book SynopsisCoding, Shaping, Making combines inspiration from architecture, mathematics, biology, chemistry, physics and computation to look towards the future of architecture, design and art. It presents ongoing experiments in the search for fundamental principles of form and form-making in nature so that we can better inform our own built environment. In the coming decades, matter will become encoded with shape information so that it shapes itself, as happens in biology. Physical objects, shaped by forces as well, will begin to design themselves based on information encoded in matter they are made of. This knowledge will be scaled and trickled up to architecture. Consequently, architecture will begin to design itself and the role of the architect will need redefining. This heavily illustrated book highlights Haresh Lalvani's efforts towards this speculative future through experiments in form and form-making, including his work in developing a new approach to shape-coding, explTrade Review'We see in the history of science the laying down of foundational elements before a new paradigm bursts forth. Thus the work of Copernicus, Brahe, Kepler, and Galileo preceded Newtonian mechanics. And the Michelson-Morley measurements, the Lorentz transformations, and Poincaré's mathematics proceeded Einstein's relativity. We are today again in such a moment as a new paradigm is emerging, generative morphogenetics, the unfolding of form from simple rules,,,.Lalvani's Coding, Shaping, Making: Experiments in Form and Form-Making is a foundational work underlying [this] emerging field….As such it joins D’'Arcy Thompson's growth and form, John Archibald Wheeler's it from bit, David Deutsch's constructor theory, Stephen Wolfram's new kind of science, and Neil Gershenfeld's information in the material. To put it simply, Lalvani asks…are there fundamental morphological principles at work that we do not yet fully understand? Lalvani contends that there are, and he explores them. Lalvani's work has implications for important new developments in morphology, mathematics, logic, chemistry, biology, evolutionary theory, nanotechnology, digital fabrication among many other fields. I believe researchers in numerous fields will mine his work for new avenues of understanding for decades to come. Stephen Wolfram says, "I think when I find the code that generates our world, it will be about six lines." Lalvani brings us hints of that code.' - John Lobell, Professor of Architecture, Pratt Institute'Lalvani’s ground-breaking concept of ‘Morphological Universe’ included in this book….captures the most original aspects of his work in design science. What he has done is amazing. I believe it to be a grand unification of what others have done in small pieces. It is astounding to see it all come together masterfully in a beautifully visual representation which is also theoretically mathematical.I would say that transformation is the key to Lalvani’s approach. Nothing is a single incident… the value of a taxonomy of form such as Lalvani’s Morphological Universe is in its applications which he demonstrates masterfully in both beautiful diagrams as well as his physical experiments with materials. He likens this work to a kind of DNA of form….in which by inputting a code of numbers he is able to call up a wide variety of forms which are then capable of fabrication in physical materials. This is a new way to create both art, and industrial design.…he has carried out experiments in which the surfaces shape themselves under a force…This self-shaping is a new principle of morphogenesis. ….Lalvani continues to integrate yet more material into his system. And it is the very notion of a system behind all of these forms which appears not only in geometry and design but in other fields such as biology, geology, botany and perhaps even particle physics, that is his real contribution through these efforts.' - Jay Kappraff, Emeritus Associate Professor of Mathematics, New Jersey Institute of Technology'Throughout history, we find a distinguished list of visionaries, seeking to bring clarity and reason to the unknown. The perpetual search for the underlying order that governs our complex universe has captivated our imagination and drawn them toward a life of speculative inquiry.Haresh Lalvani has devoted his entire life to unveiling a morphological genome. Captivated by the vast diversity of shape grammar that underpins the natural and man-made world, he tirelessly pursues research that reveals a universal system of codes capable of producing an infinite alphabet of spatial morphological configurations. Envisioned as a massive periodic table cataloging each incremental modification in emerging growth his findings unveil an expansive evolutionary network undergoing continuous change.His groundbreaking research, prominently presented in his book Coding Shaping Making, holds the key to the future of genomic architecture. Imagined as an auto-morphogenetic turning point in history, Haresh dreams of a time when all matter will act as generative geometry, encoding information in real time to reshape its very own existence. It is a glorious view of our rapidly changing new world and reaffirms his status as one of the great visionaries in our profession today.'Evan Douglis, Dean, School of Architecture, Rensselaer Polytechnic Institute (RPI)'Higher-dimensional worlds are rich with extraordinary shapes, many of which remain unknown to us. These may move around, transform, shrink and grow, taking the form of curved surfaces or polyhedral shapes designed with colorful periodic or aperiodic patterns. However, we cannot directly see any of these fascinating forms. Dr. Haresh Lalvani’s luxurious and timely book Coding Shaping Making uncovers the potential practicalities of these shapes and drawings by visual multi-dimensional geometry and profound original theory. It covers numerous aspects of art and science, the micro and macrocosm, Euclidean and non-Euclidean space, organic and inorganic beings and much more. Furthermore, in order to render these concepts and shapes more approachable, the author makes lavish use of a bevy of remarkable computer graphics and videos. Consequently, the book feels more like a beautiful picture book of unfamiliar puzzles or a mysterious story. The story may not attain even now. The author must have many other original ideas, waiting to be compiled in new books and we are excited to see those ideas realized practically as architecture in the near future.'Koji Miyazaki, Dr. Eng., Architect, Professor Emeritus, Kyoto University, Japan'We see in the history of science the laying down of foundational elements before a new paradigm bursts forth. Thus the work of Copernicus, Brahe, Kepler, and Galileo preceded Newtonian mechanics. And the Michelson-Morley measurements, the Lorentz transformations, and Poincaré's mathematics proceeded Einstein's relativity.We are today again in such a moment as a new paradigm is emerging, generative morphogenetics, the unfolding of form from simple rules,,,.Lalvani's Coding, Shaping, Making: Experiments in Form and Form-Making is a foundational work underlying [this] emerging field….As such it joins D’'Arcy Thompson's growth and form, John Archibald Wheeler's it from bit, David Deutsch's constructor theory, Stephen Wolfram's new kind of science, and Neil Gershenfeld's information in the material.To put it simply, Lalvani asks…are there fundamental morphological principles at work that we do not yet fully understand? Lalvani contends that there are, and he explores them.Lalvani's work has implications for important new developments in morphology, mathematics, logic, chemistry, biology, evolutionary theory, nanotechnology, digital fabrication among many other fields. I believe researchers in numerous fields will mine his work for new avenues of understanding for decades to come.Stephen Wolfram says, "I think when I find the code that generates our world, it will be about six lines." Lalvani brings us hints of that code.'John Lobell, Professor of Architecture, Pratt Institute'Lalvani’s ground-breaking concept of ‘Morphological Universe’ included in this book….captures the most original aspects of his work in design science. What he has done is amazing. I believe it to be a grand unification of what others have done in small pieces. It is astounding to see it all come together masterfully in a beautifully visual representation which is also theoretically mathematical.I would say that transformation is the key to Lalvani’s approach. Nothing is a single incident… the value of a taxonomy of form such as Lalvani’s Morphological Universe is in its applications which he demonstrates masterfully in both beautiful diagrams as well as his physical experiments with materials. He likens this work to a kind of DNA of form….in which by inputting a code of numbers he is able to call up a wide variety of forms which are then capable of fabrication in physical materials. This is a new way to create both art, and industrial design.…he has carried out experiments in which the surfaces shape themselves under a force…This self-shaping is a new principle of morphogenesis. ….Lalvani continues to integrate yet more material into his system. And it is the very notion of a system behind all of these forms which appears not only in geometry and design but in other fields such as biology, geology, botany and perhaps even particle physics, that is his real contribution through these efforts.'Jay Kappraff, Emeritus Associate Professor of Mathematics, New Jersey Institute of TechnologyTable of Contents1. Meta-Architecture 2. Genomic Architecture 3. The Milgo Experiment: An Interview with Haresh Lalvani 4. The Pattern Continuum: Mass Customization of Emergent Designs 5. Form Follows Force: The Epigenetic Continuum 6. Self-Shaping: Form is Process 7. Hyper-Architecture: Hyperstructures, Hyperspaces, Hypersurfaces 8. Morphoverse: And The Universal Morph Tool Kit 9. Abiogenesis and Future of Architecture Acknowledgments Index

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Book SynopsisThis practical book offers a multifaceted view of cultural inclusion from the perspective of special educational needs and disabilities (SEND). It provides a road map for teachers to ensure increased participation in arts and culture for children and young people with SEND, defining a series of characteristics for good practice. Chapters explore spaces as diverse as galleries, museums, theatres and performance venues and include a variety of case studies, highlighting the experiences of young people and the organisations who partner with schools.Cultural Inclusion for Young People with SEND offers a compelling call to action and is an essential resource for those who have the power to improve and support the development of future provision for children with SEND. Trade ReviewUltimately, cultural inclusion is an essential piece of the jigsaw for ensuring that all children and young people have the opportunity to reach their full potential. Paul has brought the reality of this to life through this book. It’s now time for all of us to play our part in building a culturally rich and more inclusive world.Professor Adam Boddison, Visiting Professor of Education, University of WolverhamptonTable of ContentsAcknowledgementsForewordChapter 1: IntroductionChapter 2: What does inclusion look like?Chapter 3: Shaping a culturally inclusive curriculumChapter 4: Policy and strategy – implications for cultural inclusion – know your rights!Chapter 5: Cultural Inclusion; a family’s perspectiveChapter 6: Producers of Art and Culture: Disabled-focused and disabled-led organisationsChapter 7: Cultural inclusion – a historical perspectiveChapter 8: Anti-ableist pedagogy in Arts and CultureChapter 9: Contemporary art practice and Inclusive art practiceChapter 10: Cultural Inclusion; Developing meaningful partnerships between schools and cultural organisations. The West London Inclusive Arts FestivalChapter 11: Heritage settings and inclusion; school’s partnershipsChapter 12: Relaxed performances and venuesChapter 13: Where next in Art, culture, and inclusion?GlossaryIndex

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Book SynopsisThis book aims at renewing the attention on a niche field, Cultural Festivals, so important for valorizing cultural traditions and local heritage visibility as well as social well-being. Following the disruptive consequences of the COVID-19 pandemic, this fragile sector deserves more attention from public authorities and stakeholders at national and European levels with a suitable and dedicated plan of recovery and valorization. This book provides a comparative analysis of Cultural Festivals in Europe, taking insights from an international range of high-level scholarly contributors. Individual chapters highlight and analyse challenges around the organisation, management and economics of Cultural Festivals. As a whole, the book provides a comprehensive overview of scholarly research in this area, setting the scene for the future research agenda. Matters related to educational programs and new audience development, as well as challenges related to digitalization, are also incluTrade Review"Cultural festivals are a very important sector and contributes strongly to the vitality of cities. This book offers an interesting overview of European festivals and its richness, but also the challenges facing the sector. In addition, it develops a detailed tool to measure their cultural impact, a tool that can be used in other cultural sectors. I recommend this reading to anyone with an interest in festivals or readers who would like to know more about how to measure the cultural impact." François Colbert, Holder of the Carmelle and Rémi Marcoux Chair in Arts Management, HEC Montréal, Canada"This book provides an excellent resource for those interested in delving into research on cultural festivals. As the editors point out, cultural festivals are vital showcases of local culture and tradition that link to community and societal wellbeing, and as such, they merit deeper investigation. However, changes in technology and the shock of the COVID-19 pandemic have both hit traditional cultural festivals hard, resulting in a need to innovate and change to keep up with the times. This book also addresses challenges faced by cultural festivals regarding their socio-economic impacts and the future relevance of such festivals. The strength of this book is that it provides a great collection of chapters drawn from across Europe focusing on a wide range of cultural festival types (from film festivals to pop culture festivals and from book fairs to music festivals). Highly recommended reading for all festival scholars." Judith Mair, Associate Professor and Discipline Leader of the Tourism Discipline Group at the UQ Business School, University of Queensland, AustraliaTable of ContentsForeword: Cultural festivals - Quos Vadis in research and practice Marianna Sigala Introduction: Managing Cultural Festivals: context, challenges and new avenues of research Elisa Salvador and Jesper Strandgaard Pedersen Section 1: Cultural Festivals Organization and Management: between Tradition and Innovation 1. The tradition of being innovative: the case of the Venice Biennale and its Venice International Film Festival Viktoriya Pisotska, Kerem Gurses and Luca Giustiniano 2. Food Events and the Temporality of Innovation Iben Sandal Stjerne and Silviya Svejenova 3. From Festa to Festival: UNESCO Heritage and the (Invented) Tradition of a Cultural Festival Carmelo Mazza and Jesper Strandgaard Pedersen 4. Innovation in early music festivals: domains, strategies and outcomes Elena Castro-Martínez Elena, Albert Recasens and Ignacio Fernández-de-Lucio Section 2: Challenges of Cultural Festivals in the Digital Age 5. A classical music Festival and its audience: The Case of MITO Settembre Musica Giovanna Segre, Andrea Morelli and Caterina Valenti 6. Ferrara Buskers Festival (1998-2001): Design, Emerging Meanings and Sense Making Luca Zan and Giovanni Masino 7. Becoming a symbol and losing control: The Gothenburg Book Fair and the alt-right debate Josef Pallas and Elena Raviola 8. Music Festivals and Educational Concerts in Spain: A Landscape between Tradition and Innovation Ana Maria Botella-Nicolas, Rosa Isusi-Fagoaga and Elena Castro-Martinez Section 3: Value and Impacts of Cultural Festivals at local and regional level 9. (The Economics of) Cultural Festivals in the Digital Age: An analysis of the comics publishing industry Elisa Salvador, Elena Castro-Martinez and Pierre-Jean Benghozi 10. Beyond economic impact: the cultural and social effects of arts festivals María Devesa and Ana Roitvan 11. Cultural value of a Festival: quality evaluator for assessing impact Arjo Klamer, Ludmilla Petrova, and Dorottya Eva Kiss 12. Cultural Events and Japanese Pop Culture in Europe: The case of the Japan Expo in France Norio Tajima, Keiko Kawamata, Shoetsuro Nakagawa and Toshihiko Miura 13. Facts about music festivals: what we know and what we would like to know Jean-Paul Simon

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Book SynopsisThis book analyzes and theorizes the e?cacy of using applied theater as a tool to address refugee issues of displacement, trauma, adjustment, and psychological well-being, in addition to split community belonging.Fadi Skeiker connects refugee narratives to the themes of imagination, home, gender, and conservatism, among others. Each chapter outlines the author's applied theater practice, as a Syrian, with and for Syrian refugees in the countries of Jordan, Germany, and the United States.This book will be of great interest to scholars, students, and practitioners of applied theater studies and refugee studies.Trade Review" The book will fit well in discussions of ethics and applied theatre practice, the politics of psycho/social support in humanitarian interventions, drama therapy, and theatre for social change. But its biggest strength lies in Skeiker’s narrations of the practice of applied theatre itself, and so is best suited for students and teachers thinking about how to talk about what they do, how to relate the value of their work, and how to critically assess the strengths and failures of their practice. In providing exactly such an assessment, Skeiker emerges as an honest and seasoned practitioner unfolding his practice for a reader to take notes from and think with. Theatre scholarship in English and Arabic to date hosts very few voices like Skeiker’s. His narrative presents a practitioner, thinker, and fellow citizen who is vulnerable yet knowledgeable, experienced and yet thinking critically about the ethics and impact of his work. His book gestures toward a future for applied theatre with, between, and by Arabic-speaking communities and their neighbors, wherever they find themselves at home."Rayya El ZeinWesleyan UniversityTable of ContentsForeword: in search of imagination; Introduction: Prologue; 1: Theory, Issues, and Stories: Context; 2: Jordan: Youth, Gender, and Discovering the Individual; 3: Germany: Organizing and Facilitating A Workshop; 4: The United States: Serving the Refugee, Connecting with the Community; Conclusion: Epilogue; Index

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Book SynopsisPainting the Novel: Pictorial Discourse in Eighteenth-Century English Fiction focuses on the interrelationship between eighteenth-century theories of the novel and the art of painting â a subject which has not yet been undertaken in a book-length study. This volume argues that throughout the century novelists from Daniel Defoe to Ann Radcliffe referred to the visual arts, recalling specific names or artworks, but also artistic styles and conventions, in an attempt to define the generic constitution of their fictions. In this, the novelists took part in the discussion of the sister arts, not only by pointing to the affinities between them but also, more importantly, by recognising their potential to inform one another; in other words, they expressed a conviction that the theory of a new genre can be successfully rendered through meta-pictorial analogies. By tracing the uses of painting in eighteenth-century novelistic discourse, this book sheds new light on the history of the so-callTrade ReviewFar-ranging and deeply researched, Painting the Novel is an essential read for eighteenth-century scholars and a must for word and image students.Professor Peter de Voogd, University of UtrechtThe debate between realism and the ideal had been an ongoing debate in art criticism long before it entered performance and criticism in narrative fiction. Jakub Lipski’s excellent book surveys this encounter between painting and prose fiction as it played out in British fiction of the eighteenth century from Defoe to Sterne, from Fielding to Radcliffe, from more or less attempts to capture "real life" in the presentation of character to ideal figures of beauty such as Sophia Western, from the real world of Smollett’s tavern scenes to the idealised illustrations of Burney’s Evelina, and finally to the mixture of ideally sentimentalised characters with the often grotesque landscape of the Gothic. If Hogarth and Guido Reni do not quite bookend the discussion, they play important roles. Lipski’s book appears at a time when descriptive moments in works of fiction—moments outside the flow of narrative—are drawing ever greater critical attention. His work makes an important contribution to that discussion.Professor Maximillian E. Novak, University of CaliforniaIn this admirably broad and wide-ranging study Jakub Lipski sheds new light on the relationship between the novel and the visual arts, especially painting, in the eighteenth century. Moving beyond the familiar accounts of the ‘sisters arts’ he carefully elucidates a deeper engagement, demonstrating that novelists frequently evoked the pictorial to work through and better understand their own practice in a period of generic instability and turmoil. Through a series of compelling case studies, illuminated by welcome attention to paratextual features alongside painterly motifs and explicit references, the complexity of the entanglement between the verbalTable of ContentsEntry

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Book SynopsisThis book challenges existing notions of what is "American" and/or "Asian" art, moving beyond the identity issues that have dominated art-world conversations of the 1980s and the 1990s and aligning with new trends and issues in contemporary art today, e.g. the Global South, labor, environment, and gender identity.Table of Contents1. American Art as Cultural Hegemony: 1945–1989 Kyunghee PyunPART I: Post-War American Art in Postcolonial Asia2. Leaving Yourself Behind: Bourke-White, Zarina, and the Partition of British IndiaAsma Naeem3. What Can Ad Reinhardt Teach Us About Asian Art? Michael J. Hatch4. Painting as Information: The Reception of Abstract Expressionism in Japan Kenji Kajiya5. Minimalism: A View from Singapore Russell StorerPART II: American Artists in Asia Today6. The (im)Possibilities of Cultural Collectivity: American Artist in Setouchi James Jack7. Rare Earth Image Bank: Extraction Geology and Stock Photos, from Wyoming to Inner Mongolia David Kelley8. Interstates and Inner States: Howard Henry Chen Việt LêPart III: Locating Asia in American Art9. Mapping Lee Mingwei’s Transnational Art Practice Leslie Ureña10. American War in Việt Nam: We Are Besides Ourselves Hồng- n Trương11. America in China: Cross-cultural Confluences in Contemporary American ArtMichelle Yun MapplethorpePART IV: Connecting Asia and the Americas in the Global South12. Buying and Selling American Taste: Pop Art and the Inscription of Violence as Artistic Strategy in Colombia Jennifer Burris13. Considering Dhaka Art Summit from a CHamoru Perspective: A Walk Through its Institutional History Diana Campbell 14. The Artpologists: Rethinking Food Justice in Central AsiaZhanara Nauruzbayeva 15. Points of Intersection: Realigning Future Art Histories Michelle Lim

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Book SynopsisTeaching Music History with Cases introduces a pedagogical approach to music history instruction in university coursework.What constitutes a music-historical case? How do we use them in the classroom? In business and the hard sciences, cases are problems that need solutions. In a field like music history, a case is not always a problem, but often an exploration of a context or concept that inspires deep inquiry. Such cases are narratives of rich, complex moments in music history that inspire questions of similar or related moments. This book guides instructors through the process of designing a curriculum based on case studies, finding and writing case studies, and guiding class discussions of cases.Table of Contents1. Introduction 2. Case Study Curriculum Design 3. Selecting and Writing Cases 4. Class Discussion 5. Student Inquiry and Project-Based Learning 6. Assessment in the Case Study Classroom

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Book SynopsisFirst published in 1983, Aesthetics and the Sociology of Art provides a lucid account of two divergent tendencies in the study of aesthetics. At the one extreme, traditional aestheticians have assumed that art and literature are wholly independent, following only the laws and inspirations of artists and artistic movements, and that the question of aesthetic value is accordingly unproblematic. At the other extreme, some sociologists have treated works of art as no more than manifestations of the socio-economic circumstances which produce them, arguing that aesthetic value is therefore entirely relative matter. Janet Wolff shows how both the extreme positions are untenable, and argues convincingly that we must accept that the conceptions and criteria of aesthetic value are socially constructed and inevitably ideological, while stopping short of the reductionist alternative which fails to recognise the irreducible questions of pleasure and of aesthetic discourse. This booTable of ContentsAcknowledgements 1. The Sociological Critique of Aesthetics 2. Sociology versus Aesthetics 3. Political and Aesthetic Value 4. The Nature of the Aesthetic 5. The Specificity of Art 6. Towards a Sociological Aesthetics Bibliography Index

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Book SynopsisBy analysing the philosophical lineage of notions of representation, time, being, light, exposure, image, and truth, this book argues that photography is the visual manifestation of the philosophical account of how humans encounter beings in the present.Daniel Rubinstein argues that traditional understandings of photography are determined by the notions of verisimilitude and representation, and this limits our understanding of photographic materiality. It is suggested that the photographic image must be closely read not for the objects, events and situations represented in it, but for the insights it affords into the structure of contemporary consciousness.The book will be of interest to scholars working in photography, media studies, philosophy, fine art, and art history.

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Book SynopsisThis book offers a unique Australian perspective on the global crisis in refugee protection.Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children's theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, tTable of ContentsList of FiguresAcknowledgementsContributors' BiographiesIntroduction: Performance, Refuge and ResistanceSuzanne Little, Samid Suliman and Caroline WakeOn StageChapter 1 Refugees, Visual Culture and Theatre: Reinscriptions and Contestations Suzanne Little Chapter 2 The Breath of Another: Mediated Testimony in the Play ManusAnna SzörényiChapter 3 Eschewing Precarity in Spoken Word Poetry: Towards the Performance of Agency in Refugee StorytellingSukhmani KhoranaChapter 4 Manus Island and Kurdistan in Juxtaposition: Reading Remain and Chauka, Please Tell Us the Time Beyond the Story of the Manus PrisonZhila GholamiChapter 5 Offshore Onstage: Refugee Policies, Media Ecologies and Migrant Dramaturgies in Australia, 2001–2021Caroline WakeOff StageChapter 6 Trouble on the HorizonSuvendrini PereraChapter 7 The Anxiety of Cosmopolitanism in Political PhilosophyNikos PapastergiadisChapter 8 How to Appear? Writing Art History in Australia after 1973Verónica TelloChapter 9 Nomocide or the Nonperformativity of Colonial LawMaria GiannacopoulosChapter 10 Putting on a Show: Considering the Dark Matter of Australian Border TheatreSamid SulimanIndex

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Book SynopsisIn this book, contributors identify and explore a range of iconic works â Mistress-Pieces â that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison dâÃtre, its contributors interpret a Mistress-Piece as a work that has proved influential in a particular context because of its distinctiveness and relevance.Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known â those by Natalia LL, Tanja OstojiÄ, Swoon, Clara MenÃres, Diane Victor, Usha Seejarim, Ilse FuskovÃ, Phaptawan Suwannakudt âand Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused Table of ContentsIntroductionBrenda SchmahmannPart I: Reconfiguring Domestic Life 1. The Aesthetic Labour of Protest, Now and Then: The Women’s Peace Camp at Greenham Common (1981-2000)Alexandra Kokoli2. "Middle fingers up, put them hands high": Rethinking Tracey Moffatt’s Scarred for Life (1994)Jacqueline Millner and Catriona Moore3. Bodies, Borders, and Law: Tanja Ostojić’s Looking for a Husband with EU Passport (2000-05)Hilary Robinson4. Household Matters: Usha Seejarim’s Venus at Home (2012) and the Politics of Women’s WorkBrenda SchmahmannPart II: Critiquing Gender Violence and Abuse 5. Hannah Wilke’s S.O.S. Starification Object Series (1974-82) in the Era of #MeTooMarissa Vigneault6. Private Trauma, Public Healing: Hannan Abu Hussein’s The Vagina Series (begun 2002)Tal Dekel7. Transgressive Martyrs in Diane Victor’s Wise and Foolish Virgins (2008)Karen von Veh8. Swoon’s Medea (2017) as a Feminist Intervention: Re-producing the MaternalPaula J. BirnbaumPart III: Great Goddess Iconographies9. Ana Mendieta’s Silueta Series (1973-80): In and Out of FeminismSherry Buckberrough 10. Clara Menéres’ Woman-Earth-Life (1977) and the Politics of Censorship, Concealment and VandalismLaura Castro11. The Female Body and Spirituality in Ilse Fusková’s El Zapallo (1982) SeriesMaría Laura RosaPart IV: Body Politics 12. Who is Afraid of Natalia LL? Consumer Art (1972-75) and the Pleasures and Dangers of Feminist Art in Communist PolandJoanna Inglot13. An Icon for the Aged: Alice Neel’s Self-Portrait (1980)Pamela Allara14. Phaptawan Suwannakudt’s Akojorn (1995): Connecting WomenYvonne Low15. Into the grave and back: Psychosomatic passage through grief in Lindi Arbi’s Unearthed (2009)Irene Bronner

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Book SynopsisIn this book, contributors identify and explore a range of iconic works â Mistress-Pieces â that have been made by feminists and gender activists since the 1970s. The first volume for which the defining of iconic feminist art is the raison dâÃtre, its contributors interpret a Mistress-Piece as a work that has proved influential in a particular context because of its distinctiveness and relevance.Reinterpreting iconic art by Alice Neel, Hannah Wilke and Ana Mendieta, the authors also offer important insights about works that may be less well known â those by Natalia LL, Tanja OstojiÄ, Swoon, Clara MenÃres, Diane Victor, Usha Seejarim, Ilse FuskovÃ, Phaptawan Suwannakudt âand Tracey Moffatt, among others. While in some instances revealing cross influences between artists working in different frameworks, the publication simultaneously makes evident how social and political factors specific to particular countries had significant impact on the making and reception of art focused Table of ContentsIntroductionBrenda SchmahmannPart I: Reconfiguring Domestic Life 1. The Aesthetic Labour of Protest, Now and Then: The Women’s Peace Camp at Greenham Common (1981-2000)Alexandra Kokoli2. "Middle fingers up, put them hands high": Rethinking Tracey Moffatt’s Scarred for Life (1994)Jacqueline Millner and Catriona Moore3. Bodies, Borders, and Law: Tanja Ostojić’s Looking for a Husband with EU Passport (2000-05)Hilary Robinson4. Household Matters: Usha Seejarim’s Venus at Home (2012) and the Politics of Women’s WorkBrenda SchmahmannPart II: Critiquing Gender Violence and Abuse 5. Hannah Wilke’s S.O.S. Starification Object Series (1974-82) in the Era of #MeTooMarissa Vigneault6. Private Trauma, Public Healing: Hannan Abu Hussein’s The Vagina Series (begun 2002)Tal Dekel7. Transgressive Martyrs in Diane Victor’s Wise and Foolish Virgins (2008)Karen von Veh8. Swoon’s Medea (2017) as a Feminist Intervention: Re-producing the MaternalPaula J. BirnbaumPart III: Great Goddess Iconographies9. Ana Mendieta’s Silueta Series (1973-80): In and Out of FeminismSherry Buckberrough 10. Clara Menéres’ Woman-Earth-Life (1977) and the Politics of Censorship, Concealment and VandalismLaura Castro11. The Female Body and Spirituality in Ilse Fusková’s El Zapallo (1982) SeriesMaría Laura RosaPart IV: Body Politics 12. Who is Afraid of Natalia LL? Consumer Art (1972-75) and the Pleasures and Dangers of Feminist Art in Communist PolandJoanna Inglot13. An Icon for the Aged: Alice Neel’s Self-Portrait (1980)Pamela Allara14. Phaptawan Suwannakudt’s Akojorn (1995): Connecting WomenYvonne Low15. Into the grave and back: Psychosomatic passage through grief in Lindi Arbi’s Unearthed (2009)Irene Bronner

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Book SynopsisThis book explores the role that arts and culture can play in supporting global international development. The book argues that arts and culture are fundamental to human development and can bring considerable positive results for helping to empower communities and provide new ways of looking at social transformation. Whilst most literature addresses culture in abstract terms, this book focuses on practice-based, collective, community-focused, sustainability-minded, and capacity-building examples of arts and development. The book draws on case studies from around the world, investigating the different ways practitioners are imagining or defining the role of arts and culture in Belize, Canada, China, Ethiopia, Guatemala, India, Kosovo, Malawi, Mexico, Peru, South Africa, Sri Lanka, Taiwan, Thailand, the USA, and Western Sahara refugee camps in Algeria. The book highlights the importance of situated practice, asking what questions or concerns practitioners have and inviting a diTrade Review"A timely book containing an outstanding collection of essays on the debate around global practice-based arts and culture; an essential collection of thought-provoking accounts rooted in practice and community engagement. If you are interested in the different ways arts professionals are rethinking the role of arts and culture practice, this is one for your bookshelf."Glen Coutts, Professor, Applied Arts Education, University of Lapland, Finland, President, International Society For Education through Art"Despite pleas to " give voice to the voiceless", many voices remain unheard. This is not just because no one is listening, but because their expression may not take verbal form, but may emerge through, or be facilitated by, art. This comprehensive book gives this recognition central place, and it's fascinating essays show the truly transformative power of the arts when applied to shaping genuinely humane and holistic development."John Clammer, Jindal School of Liberal Arts and Humanities"A showcase of compelling stories about transformation, empowerment, community building, and creative placemaking… Arts and Culture in Global Development Practice: Expression, Identity and Empowerment is a must-read for those who want to increase their knowledge about community development, global arts, and creative praxis in various social, cultural, and political contexts."Wanda B. Knight, Ph.D., Associate Professor of Art Education, African American Studies, and Women’s, Gender, and Sexuality Studies, Penn State University, United States., President-elect, National Art Education Association Table of ContentsIntroduction: Bringing forth human expression, forming identity, and empowering communities through arts and culture: Who defines it? Who is it for? Who gets to do it? Ann Holt and Cindy Maguire 1. A temple of art in the middle of the desert: Reflections on creating Motif Art Studio and the role of art in the Sahrawi refugee camps Mohamed Sleiman Labat 2. A Painted Conversation: Narratives in community-based mural making processes Natalia Pilato 3. Ojos que Sienten: Changing the narrative of seeing through sensory photography Gina Badenoch 4. Turning higher education hierarchies inside out: Sticky encounters in co-designing a community centre using multimodal interventions Kim Berman and Boitumelo Kembo 5. Creative teaching through solidarity networks in the Saharawi refugee camps: Desert Voicebox Danielle V. B. Smith and Violeta Ruano 6. Healing and education through the arts: A HEART-based approach Girija Kaimal, Sara Hommel, Lauren Pisani, and Jonathan Seiden 7. Cultivating Black diasporic memories and communities through community archiving Désirée Rochat 8. Cross-cultural collaborations through the lens of art therapy: Sri Lanka Emilija Mecelicaite and Janine Simpson 9. The arts and creative education as resistance and renewal: Kosovo Refki Gollopeni 10. Authentic and ethical fashion design guided by the heart Alexia Sobrado 11. Bridging communities through innovation: Art, design, and entrepreneurship: COPE NYC Vida Sabbaghi 12. Feminist art and education: Facilitating a cross-cultural exchange: U.S.–China Art Summit Karen Keifer-Boyd and Xinxin Guo 13. Moving the margins in Malawi: Culturally responsive art education for girls Darden Bradshaw and Novea Mcintosh

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Book SynopsisLeadership in Music Technology Education examines the pedagogical, sociocultural, and philosophical issues that affect curriculum, research, and decision-making in music technology in higher education. This book considers a range of cutting-edge topics, including the impact of the COVID-19 pandemic, professional development concepts, partnerships between higher education and the creative and cultural industries, and the effects technology has on sustainability. Drawing on Leadership theories, including Transformational, Situational, Servant, and Social Change Model Theory, the book puts forward a new model, Creative Industry Leadership, which considers the sociocultural aspects of Music Technology Education, and interrogates biased ideologies that limit opportunities for a broad range of learners and practitioners in education and beyond. Additionally, Leadership in Music Technology Education examines educators' informal leadership capacities during the COVID-Trade Review'Leadership in Music Technology Education provides an ambitious and dazzlingly wide-ranging exploration of opportunities and challenges in a complex, fast-changing interdisciplinary field. In this remarkable book, Walzer discusses and exemplifies transformational leadership aimed at intriguing and inspiring anyone working at the liminal intersections of music, technology and education.'Gareth Dylan Smith, Assistant Professor of Music, Boston University, USA'Leadership in Music Technology Education is a key text for educators. Dan offers a captivating critical reflection on Music Technology through Leadership theory, allowing the reader to consider the present and future of the field. Central to the volume, and an essential contribution, is how Leadership can be a gateway towards greater engagement with equality, diversity and inclusion.'Professor Mariana López, Professor in Sound Production and Post Production, University of York, UKTable of ContentsIntroduction: A Challenging Period in Education Part 1: Philosophy 1. What is Leadership? 2. Where is Music Technology Education? 3. Perspectives on Technology 4. Gendered Aspects of Music Technology Education 5. Praxis in Music Technology Education Part 2: Pedagogy 6. Inspiring Critical Thinking and Aesthetics 7. Inclusive and Reflective Creativity Part 3: Praxis 8. Leadership Theory into Practice Epilogue

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Book SynopsisCombining essays and interviews with nonfiction filmmakers, this collection explores the business side of nonfiction media creation for film and television. Over 30 industry professionals dispel myths about the industry and provide practical advice on topics such as how to break into the field; how to develop, nurture, and navigate business relationships; and how to do creative work under pressure. Readers will also learn about the entrepreneurial expectations in relation to marketing, strategies for contending with the emotional highs and lows of creating nonfiction media, and money management whilst pursuing a career in creating nonfiction media.Written for undergraduates and graduates studying filmmaking, media production, and documentary filmmaking, as well as aspiring nonfiction media creators and documentary filmmakers, this book provides readers with a wealth of first-hand information that will help them create their own opportunities and pursue a career Table of ContentsIntroduction; 1: Getting Started; 2: Sticking It Out; 3: Finding Success; 4: Getting Ahead; 5: Starting Again

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Book SynopsisThis book brings together history and theory in art and media to examine the effects of artificial intelligence and machine learning in culture, and reflects on the implications of delegating parts of the creative process to AI.In order to understand the complexity of authorship and originality in relation to creativity in contemporary times, Navas combines historical and theoretical premises from different areas of research in the arts, humanities, and social sciences to provide a rich historical and theoretical context that critically reflects on and questions the implications of artificial intelligence and machine learning as an integral part of creative production. As part of this, the book considers how much of postproduction and remix aesthetics in art and media preceded the current rise of metacreativity in relation to artificial intelligence and machine learning, and explores contemporary questions on aesthetics. The book also provides a thorough evaluation of the creTrade Review“[A] must-read text for all those interested in the emerging relationship between AI and art […] placing it within a historical and theoretical framework rooted in our cultural, political, and economic past. […] Navas’s book is undoubtedly an important step forward in the AI debate, and the notion of metacreativity a valuable tool.”Francesco D’Isa, Los Angeles Review of BooksTable of ContentsMetacreativity Part I: Interstitial Paradigms 1. Labor 2. Modularity 3. Memory 4. Technology 5. Compression 6. Simulation 7. Environs Part II: Meta Paradigms 8. Art 9. Music 10. Media 11. Culture 12. History Part III: Metacreativity 13. Principles of Metacreativity 14. AI Aesthetics After Remix 15. Conclusion: Tripartages

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Book SynopsisThis book examines the enactment of gendered in/equalities across diverse Cultural forms, turning to the insights produced through the specific modes of onto-epistemological enquiry of embodied performance. It builds on work from the GRACE (Gender and Cultures of Equality in Europe) project and offers both theoretical and methodological analyses of an array of activities and artworks. The performative manifestations discussed include theatre, installations, social movements, mega-events, documentaries, and literary texts from multiple geopolitical locales. Engaging with the key concepts of re-enactment and relationality, the contributions explore the ways in which in/equalities are relationally re-produced in and through individual and collective bodies. This multi- and trans-disciplinary collection of essays creates fruitful dialogues within and beyond Performance Studies, sitting at the crossroads of ethnography, event studies, social movements, visual studies, critiTable of Contents1 Performing Cultures of Equality: Embodiments, Visualities, Inscriptions -Emilia María Durán-Almarza, Carla Rodríguez-González, and Suzanne Clisby PART I Embodying (In)Equalities 2 Honey Pot Performance’s Black Feminist Praxis: Embodiments of Collaboration and Collectivity -Meida Teresa McNeal 3 The Performance of Black Young Masculinity in Bola Agbaje’s and Mojisola Adebayo’s Council-Estate Plays -Paola Prieto López 4 Art’s Political Potential and the Violence That the Art Does. On the Performative Operations of Krzysztof Wodiczko’s Guests (2016) -Dorota Golańska and Aleksandra M. Różalska Part II Visualizing (In)Equalities 5 Tinted Visions: Performing Equalities Through Festive Decorations in LGBT-Themed Events in Hull (UK City of Culture 2017) -Barbara Grabher 6 Social Media Reverberations of Feminist Assemblies: Reflections After Non una di meno’s Verona transfemminista Rally -Tomasso Trillò 7 Gender-Based Violence and the Performance of Masculinity: A Comparative Analysis of the Documentary Films Ma l’amore c’entra? and Serás hombre -Orianna Calderón Sandoval and Adelina Sánchez Espinosa PART III Inscribing (In)Equalities 8 Strangers, Persisters, and Killjoys: Confronting Gender Inequality through Performance Poetry -Esther Álvarez López 9 Imperialism’s Performative Technologies: Race, Gender, and Wearable Devices in Aliette De Bodard’s ‘Immersion’ -Eleanor Drage 10 Figures of a Gender Now upon Us: The Transfeminine in Contemporary Queer Fiction from the Philippines -Jaya Jacobo

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Book SynopsisSonic Engagement examines the relationship between community engaged participatory arts and the cultural turn towards audio, sound, and listening that has been referred to as the ''sonic turn''.This edited collection investigates the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. This book maps existing projects occurring globally through a series of case study chapters that exemplify community engaged creative audio practice. The studies focus on audio and sound-based arts practices that are undertaken by artists and arts-led researchers in collaboration with (and from within) communities and groups. These practices includeapplied audio drama, community engaged podcasting, sound and verbatim theatre, particTable of ContentsList of FiguresList of ContributorsIntroduction: Distilling an Interdisciplinary ApproachSarah Woodland and Wolfgang VachonPART 1First Knowledges FirstIntroduction1. Bu’ra’nga’man | Dadirri | Yimbilli: Echoes of Listening to CountryBianca Beetson, Vicki Saunders, Sarah Woodland, and Leah BarclayPART 2Sonic Knowing: Meaning and ResonanceIntroduction2. Audio drama inquiry: A telling method of researchWolfgang Vachon3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm methodCasey Burkholder and Katie MacEntee4. Composing place: Creating participatory sound portraits and compilationsMaureen Flint, Morgan Shiver and Ryanne Whyte5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artistsTanyss Knowles and Frank J. TesterPART 3Sonic Assembly: Building Communities and PublicsIntroduction6. More-than-social listening: Undercover engagements and undoing auditory normsJill Halstead and Brandon LaBelle7. Reinscribing the noise: New media walk technologies and the politics of community engagementChristos Carras and Eric Lewis8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarityBudhaditya Chattopadhyay9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and cultureVadim KeylinPART 4Sonic Disruptions: Creating Auditory Counter-NarrativesIntroduction10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim FormulaMaggie Inchley and Sylvan Baker11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarrativesRosemary (Rosa) Cisneros12. Many Worlds in One Place: Composition as a Site of EncounterToby Young13. Odyssey on the airwaves: A journey from HMP to hopeGary Anderson and Niamh MalonePART 5Sonic Resistance: Soundscapes of Protest and ActivismIntroduction14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and MexicoLeah Barclay15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tacticsNimalan Yoganathan16. Street hassle: Noise, art, and activismMitchell Akiyama, in conversation with Don’t Rhine and Syrus Marcus WareConcluding AcknowledgementIndex

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Book SynopsisWith a focus on socially engaged art practices in the twenty-first century, this book explores how artists use their creative practices to raise consciousness, form communities, create change, and bring forth social impact through new technologies and digital practices.Suzanne Lacy's Foreword and section introduction authors Anne Balsamo, Harrell Fletcher, Natalie Loveless, Karen Moss, and Stephanie Rothenberg present twenty-five in-depth case studies by established and emerging contemporary artists including Kim Abeles, Christopher Blay, Joseph DeLappe, Mary Beth Heffernan, Chris Johnson, Rebekah Modrak, Praba Pilar, Tabita Rezaire, Sylvain Souklaye, and collaborators Victoria Vesna and Siddharth Ramakrishnan. Artists offer firsthand insight into how they activate methods used in socially engaged art projects from the twentieth century and incorporated new technologies to create twenty-first century, socially engaged, digital art practices. Works highlighted in this book spaTable of ContentsForeword: The Medium is Not the (Only) Message… Introduction Section 1: Seeds & Tools 1. Modest in Nature, We are All Lichen and other Lessons Learned with Carbon Sponge 2. Pandemic Makeover: Reimagining Place & Community in a Time of Collapse 3. Bio-Digital Pathways: Mushrooming Knowledge, Expanding Community 4. Valises for Camp Ground: Arts, Corrections and Fire Management in the Santa Monica Mountains 5. Cultivating Techno-Tamaladas Section 2: Windows & Mirrors 6. A Human Atlas: Immersive Storytelling for the Twenty-first Century 7. Borderland Collective: In Practice and Dialogue 8. We Are Worth Everything: Survivors As Themselves 9. An Interview with Ari Melenciano 10. Making Politics: Engaged Social Tactics 11. Social Practice Artworks Centerpiece Decolonial Healing: In Defense of Spiritual Technologies Section 3: Magical Machines 12. Space and Time: Science Fiction as an Imaginative Catalyst for Social Change 13. Witch-Plant-Machine: Speculative Histories and Planetary Justice 14. Cybernetic Loops and Fermented Technologies of Participatory Poetry: Reflections on the Kimchi Poetry Machine 15. Impossible Spaces and Other Embodiments: Co-constructing Virtual Realities 16. One Breath Poem: A Telematic Revolution Section 4: Expansions 17. Community Building Through Collaboration 18. Online Intimacies and Artful Life in Turtle Disco Zoomshells 19. Community Accessible Archives; What You Leave, When You Leave 20. living liveness 21. Being in Between: Challenges of Art Science Collaborations Section 5: Reimagination 22. PPE Portrait Project: Image, Ethics, Health 23. Can This Be a Community When You’re Trying To Sell Me A Luxury Watch? 24. Justice and Representation Within the Limits of Contemporary Photography 25. Technology of Touch: How Craft Can Lead to Social Change

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Book SynopsisAlmost 20 years ago Michael Brocken created from his doctoral research, what became both a seminal and contested volume concerning the social mores surrounding the British Folk Revival up to that point in time: The British Folk Revival 19442002. In this long-overdue second edition he revisits not only his own research, but also that of others from the 1990s and early 21st century. He then considers how a discourse of folkloric authenticity emerged in the closing years of the 19th century and how a worrying nationalistic immanence came to surround folk music and dance during the inter-war years. Brocken also proposes that the media: records, radio and TV in post-WWII folk revivalism can offer us important insights into how self-directed learning of the folk guitar emerged. Brocken moves on to consider the business structures of the contemporary folk scene and how relationships are formed between contemporary folk business and the digital and social media spheres. In hisTable of Contents1 The inherent morphology of folklore and folk song: a ‘changing same’2 A selective consideration of folk literature in relation to the first edition of The British Folk Revival 3 The aesthetics and practicalities of revivalism: a conservative-socialist-recorded sound ‘revolution’?4 Folk, blues and self-directed learning with the post-WWII Britain media5 The business of folk6 New folk media in the social sphere7 Gendered folk mythologies8 The folk built environment and the development of ‘thirdspace’

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Book SynopsisExperiencing the Last Judgement opens up new ways of understanding a Byzantine image type that has hitherto been considered largely uniform in its manifestations and to a great extent frightening, coercive and paralysing. It moves beyond a purely didactic understanding of the Byzantine image of the Last Judgement, as a visual eschatological text to be âreadâ and learned from, and proposes instead an appreciation of each unique image as a dynamic site to be experienced. Paintings, icons and mosaics from the tenth to the fourteenth century, from inside and outside of the Byzantine Empire, are placed within their specific socio-historical milieus, their immediate decorative programmes and their architectural contexts to demonstrate that each unique image constituted a carefully orchestrated and immersive experience of judgement. Each case study outlines the differences that exist in reality between these images that are often subsumed under one iconographic label, making a case against condensing dynamic, lived images into apparently static pictorial âtypesâ. Images of the Last Judgement needed the body, mind and memory of the viewer for the creation of meaning, and so the experience of these images was unavoidably spatial, gendered, corporeal, mnemonic, emotional, rhetorical and most often liturgical. Unpacking Byzantine images of judgement in light of these various facets of experience for the first time helps to elucidate the interaction of past individuals with the image, and the ways in which such encounters were intended to benefit the communities that made and lived alongside them.Trade Review‘The Last Judgment is one of the most versatile images in Byzantine iconography. Its diverse sources constitute a pastiche of biblical references, hagiographical accounts, and texts of apocalyptic nature, to be found in both Christian dogma and widespread popular attitudes and beliefs … Niamh Bhalla undertook and accomplished, with notable success, a particularly difficult task; her monograph constitutes the first, at least to my knowledge, comprehensive in-depth study of the function, power and agency of the Last Judgement imagery in Byzantium on various levels, emotional, mnemonic, gendered, socio-historical, didactic and rhetorical, as an immersive personal and shared experience that informs the identities of the individuals and the communities to which it is addressed. In this light, it constitutes an excellent contribution to the field and a landmark publication on the topic’ - Byzantinische Zeitschrift Bd. 115/3, 2022.Table of Contents1. Towards an Alternative ‘Reading’ of the Last Judgement 2. The Deconstruction of Time and Space: Immersive Experiences of Judgement: The Chora Parekklesion 3. Use, Agency and the Formulation of the Image: Yılanlı Kilise 4. Experiencing the ‘Byzantine’ Last Judgement in the Latin West: Torcello 5. The Mnemonic Experience of Judgement: The Sinai Hexaptych 6. The Embodied Experience of Judgement: Mavriotissa Monastery 7. The Gendered Experience of Heaven and Hell: Yılanlı Kilise and the Kokkinobaphos Manuscripts 8. The Rhetoric of Judgement: A Twelfth-century Icon from Mount Sinai

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Book SynopsisBreaking Down Joker offers a compelling, multi-disciplinary examination of a landmark film and media event that was simultaneously both celebrated and derided, and which arrived at a time of unprecedented social malaise. The collection breaks down Joker to explore its aesthetic and ideological representations within the social and cultural context in which it was released.An international team of authors explore Joker's sightlines and subtexts, the affective relationships, corrosive ideologies, and damning, if ambivalent, messages of this film. The chapters address such themes as white masculinity, identity and perversion, social class and mobility, urban loneliness, movement and music, and questions of reception and activism.With contributions from scholars from screen studies, theatre and performance studies, psychology and psychoanalysis, geography, cultural studies, and sociology, this fully interdisciplinary collection offers a uniquely muTrade ReviewBreaking Down Joker is a fascinating read. Sean Redmond has collected an array of exciting young scholars, who have each brought a unique perspective to one of the most innovative and controversial films of the 21st Century. From a range of disciplinary approaches, this collection insightfully considers Joker as not merely a complex film, but as a watershed cultural moment. No stone is left unturned as Breaking Down Joker unpacks themes as diverse as liminality, neoliberal political views, urban environments, toxic masculinity, and mental health care deficiencies. This collection is a must for anyone serious about cinema and cultural criticism.Jeffrey A. Brown, Professor & Chair, Bowling Green State University, USAUpon its release, Todd Phillips’ Joker garnered critical acclaim, awards recognition, and massive box office. The super villain origin story also received criticism for its depiction of violence, mental illness, and toxic masculinity. In Breaking Down Joker celebrated screen studies scholar Sean Redmond enlists an impressive array of global scholars to better understand the film and its wider reception. Applying a range of interdisciplinary perspectives, including screen studies, psychology, and sociology, this collection captures, unpicks, and challenges the often-conflicting views on the controversial film. Few recent films merit this depth of scholarly analysis, and it is harder to imagine a more rounded understanding of Joker than that offered by this exciting new collection. Associate Professor Liam Burke, author of The Comic Book Film AdaptationTable of ContentsBreaking Down Joker: Violence, Loneliness, Tragedy; Section I: Divided Space; 1. All the World’s a Stage: Reading Space(s) in Todd Phillips’ Joker; 2. Joker and Gotham City: Identity Correspondence. The Political Value in the Evocation of New York City in the 1970s and the Imaginary of the New Hollywood Thriller; 3. Joker: Madly Walking and Dancing Through Space; 4. New York is Dead: The Joker Steps and Urban Melancholia; Section II: Mediated Uprisings; 5. Send in the Clowns: Joker, Vigilante films and Populist Revolt; 6. Looking at and with Images: Crowds in Joker, Joker in the Crowd; 7. Resisting Tyranny with Laughter: Joker and the Arab Revolutions; 8. Joker: Toxic Masculinity, the Instigation of (Political) Violence and the Protection of Minors in Greece; Section III: Violating Genre; 9. ‘Put on a Happy Face’: The Neoliberal Horrors of Joker/s; 10. Performance Crime, Trigger Warnings, and the Violence of Joker; 11. The Perfect Crime? Anthropology and Liminality in Joker; Section IV: Breaking the Ideal Man; 12. "What do you get when you cross a mentally ill loner with a society that abandons him?" - Madness and Power in Joker; 13. A Monster We (Re) Make: Family Violence and Monstrous Masculinity in Joker; 14. The Joker and Man in the Mirror: Through Chaos to True Identity; 15. Lives of Precarity in the Age of Neoliberalism: The Tales Untold

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Book SynopsisFor centuries artists, diplomats, and merchants served as cultural intermediaries in the Mediterranean. Stationed in port cities and other entrepÃts of the Mediterranean, these go-betweens forged intercultural connections even as they negotiated and sometimes promoted cultural misunderstandings. They also moved objects of all kinds across time and space. This volume considers how the mobility of art and material culture is intertwined with greater Mediterranean networks from 1580 to 1880. Contributors see the movement of people and objects as transformational, emphasizing the trajectory of objects over single points of origin, multiplicity over unity, and mutability over stasis.Table of ContentsIntroduction: The Mobility of People and Things in the Early Modern Mediterranean: The Art of Travel - Elisabeth A. Fraser; 1 "From Scorching Spain and Freezing Muscovy": English Embroidery and Early Modern Mediterranean Trade - Sylvia Houghteling; 2 A Tale of Two Guns: Maritime Weaponry between France and Algiers - Meredith Martin and Gillian Weiss; 3 Furnishing the Taste for Coffee in Early Modern France - Julia Landweber; 4 Substitutes and Souvenirs: Reliving Polish Victory in "Turkish" Tents - Ashley Dimmig; 5 The Ottoman Costume Album as Mobile Object and Agent of Contact - Elisabeth Fraser; 6 Entangled Styles: Mediterranean Migration and Dress in Pre-Modern Algiers - Leyla Belkaïd-Neri; 7 The Art of Wandering: Alexander Svoboda and Photography in the Nineteenth-Century Mediterranean - Michèle Hannoosh

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Book SynopsisThousands of intact ceramic bowls and plates as well as fragments made in the medieval Byzantine empire survive to this day. Decorated with figural and non-figural imagery applied in a variety of techniques and adorned with colourful paints and glazes, the vessels can tell us much about those who owned them and those who looked at them. In addition to innumerable ceramic vessels, a handful of precious metal bowls and plates survive from the period. Together, these objects make up the art of dining in medieval Byzantium. This art of dining was effervescent, at turns irreverent and deadly serious, visually stunning and fun. It is suggestive of ways in which those viewing the objects used a quotidian and biologically necessary (f)act that of eating to reflect on their lives and deaths, their aspirations and their realities.This book examines the ceramic and metal vessels in terms of the information offered on the foods eaten, the foods desired and their status; the spectacle oTable of ContentsIntroduction 1.A Taste for Novelty 2. The Theatre of Dining: Splendour and Performance 3. Word, Image and Intellect: Rhetoric and Display at Table 4. Bad Taste 5. Manly Men, Heroic Hunters 6. The Display of Triumph, or: How A Plate Can Make You Powerful. Conclusion.

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Book SynopsisPlay Directing: The Basics introduces theatre students to a step-by-step process for directing plays, including advice on devising.Beginning with a historical overview of directing, this book covers every aspect of the director's job from first read to closing night. Practical advice on finding plays to produce, analysing scripts, collaborating with the design team, rehearsing with actors, devising company creations, and opening a show are peppered with advice from working professionals and academic directors. A practical workbook, short exercises, helpful websites, and suggested reading encourage readers towards a deeper study of the art of directing. This book empowers high school and early college students interested in theatre and directing to find their own voice, develop a practice, and refine their process. Table of ContentsAcknowledgementsIntroduction1. The Role of the Director2. Reading3. Designing4. Casting5. Rehearsing6. Opening7. DevisingWorkbookAppendicesGlossary of TermsSelect BibliographyIndex

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Book SynopsisThe Routledge Companion to Music, Technology, and Education is a comprehensive resource that draws together burgeoning research on the use of technology in music education around the world. Rather than following a procedural how-to approach, this companion considers technology, musicianship, and pedagogy from a philosophical, theoretical, and empirically-driven perspective, offering an essential overview of current scholarship while providing support for future research. The 37 chapters in this volume consider the major aspects of the use of technology in music education: Part I. Contexts. Examines the historical and philosophical contexts of technology in music. This section addresses themes such as special education, cognition, experimentation, audience engagement, gender, and information and communication technologies. Part II. Real Worlds. Discusses real world scenarios that relate toTrade Review"Distinctive contributions are always welcomed in the literature, so it was with great pleasure that I became acquainted with this edited volume that draws together valuable insights across a range of topics related to music, technology, and education. Because it fills a much-needed gap in the literature, this comprehensive, insightful, and unique volume will be applauded by music educators internationally." —Gary McPherson, Ormond Professor and Director, Melbourne Conservatorium of Music, the University of Melbourne, Australia "This volume is a testament to our growing understanding of technology and its role in music learning. The editors have assembled a powerful set of writings that, on the one hand provide a badly needed conceptual frame for music technology and education, and on the other provide dramatic and meaningful examples of practical usage. Voices from engineering and computer science are welcome additions. Impressive are the descriptions of progressive applications nuanced by our understanding of the social context of learning, written by some of our finest scholars." —Peter R. Webster, Scholar-in-Residence, Thornton School of Music, University of Southern California, USA Table of ContentsPart I: Contexts 1. Digital Aletheia: Technology, Culture and the Arts in Education (Andrew Burn) 2. Instrument Technology: Bones, Tones, Phones, and Beyond (Tae Hong Park) 3. Cognition and Technology for Instrumental Music Learning (Marc Leman and Luc Nijs) 4. Learning from Live Coding (Pamela Burnard, Franziska Florack, Alan F. Blackwell, Samuel Aaron and Carrie Anne Philbin) 5. The Sounds of Music (Leigh Landy) 6. For What It's Worth (Teresa Dillon) 7. Gendered Perspectives (Victoria Armstrong) 8. Technology, SEN and EY (Evangelos Himonides, Adam Ockelford and Angela Voyajolu) 9. ICT in Music Education (William I. Bauer and Hiromichi Mito) Part II: Real Worlds 10. Game Technology in the Music Classroom (Andrew Brown) 11. Audio and Education (Kyle P. Snyder) 12. Music Production: Education and Industry (Andrew King) 13. The Painting of Sound (Jonathan Savage) 14. Improvisation (Matthew Sansom) 15. The Laptop Orchestra (Ge Wang) 16. Popular Music and Technology in the Secondary School (Bradley Merrick) 17. Young Children's Potentialities as Music-Makers (Vicky Charisi) 18. Young Offenders (Jennie Henley) 19. Multimodal Environments for Learning (Serena Zanolla, Antonio Camurri, Corrado Canepa, Paolo Coletta, and Gualtiero Volpe) Part III: Virtual Worlds 20. Media (Jordan Mroziak) 21. Social Networks as Agency in Music Learning (Janice Waldron) 22. Musical Making (Eric Rosenbaum) 23. Video Games (Evan S. Tobias and Jared O’Leary) 24. Transnational Collaboration (Andrea Giráldez and David Carabias) 25. Virtual Choirs (David Howard) 26. Researching Virtual Music Worlds (Kari Veblen and Nathan B. Kruse) Part IV: Developing and Supporting Musicianship

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Book SynopsisIn this unique book the author explores the history of pioneering computer art and its contribution to art history by way of examining Ernest Edmondsâ art from the late 1960s to the present day. Edmondsâ inventions of new concepts, tools and forms of art, along with his close involvement with the communities of computer artists, constructive artists and computer technologists, provides the context for discussion of the origins and implications of the relationship between art and technology. Drawing on interviews with Edmonds and primary research in archives of his work, the book offers a new contribution to the history of the development of digital art and places Edmondsâ work in the context of contemporary art history.Trade Review"I consider this book to be an important contribution to the field of media art history and in particular to that of generative and interactive art."Frank Popper, Professor Emeritus of Aesthetics and the Science of Art, University of Paris VIII, Paris"This book provides a long overdue in-depth study of the work of one of the pioneers of digital art. Drawing upon Edmonds' original projects, his notes and statements, as well as documentation and exhibition catalogues, Francesca Franco traces the work's evolution from figurative art to colour abstraction and computer-based experimentation. The author's detailed analysis not only creates a deeper understanding of Edmonds' body of work but also functions as media archaeology, referencing exhibition histories that are often overlooked and outlining intersections between Constructivism, Systems Art and the digital art of the 21st century, as well as their concepts, tools, and forms."Christiane Paul, Associate Professor, School of Media Studies, The New School, New York"Of all those who signposted the road of interaction, systems, colocation and the new geometries of space and communication, from Fluxus to ubiquitous networks, Ernest Edmonds has been among the most connected, prolific and influential. Francesca Franco elaborates his rich, diverse and endlessly invigorating practice in relation to art movements and institutional evolutions in an imaginative and immaculate work of art historical scholarship. Still perplexing even in the digital era, this story of digital art’s origins and trajectories will inspire new generations of artists, scholars and thinkers in the dense interweavings of art, science and technology."Sean Cubitt, Professor of Film and Television and co-Head of Department of Media and Communications Goldsmiths, University of London."An inTable of ContentsIntroduction 1. The 1960s: from Figurative Art to Colour Abstraction Introduction 1.1 "Art or Mathematics?" 1.2 From Figurative Art to Black and White Abstraction (1960-1962) 1.3 From Black and White to Colour Abstraction (1962-1966) 1.4 Consolidating a Constructivist Approach: Nineteen (1967-69) 2. The 1970s - Logic, Computers and Communication Introduction 2.1 The Systems Group 2.2 Art, Technology and Participation in the United Kingdom 2.2.1 Malcom Hughes 2.2.2 Edward Ihnatowicz 2.2.3 Roy Ascott 2.2.4 Stephen Willats 2.3 Ernest Edmonds’ Early Interactive Art 2.3.1 1970: Computer Graphics’70 –*DATAPACK and Jigsaw 2.3.2 1971: Invention of Problems II – The Communications Game 2.3.3 1972: Cognition and Control – The Communications Game 2 2.4 1974-78: Systems Approaches in Edmonds’ Paintings and Drawings 3. The 1980s: Constructivism and Systems Introduction 3.1 Personal Networks and Connections 3.2 Ernest Edmonds’ Themes 3.2.1 Structure 3.2.2 Time 3.2.3 Colour 3.3 Exhibiting Space, Duality and Co-existence 3.4 Null Dimension (1988) 3.5 Constructivism: Man versus Environment (1989) 4. The 1990s - Correspondences and Intersections Introduction 4.1 A Busy 1990 4.2 A Key Collaboration: Correspondences 4.3 Residencies and Exhibitions in the 1990s 5. Interactive Generative Art: 2000-2015 Introduction 5.1 The Years 2000 to 2005 5.1.1 Expanding and Evolving Video Constructs (2000-2003) 5.1.2 Audio-Visual Artworks: Ernest Edmonds with Mark Fell (2003-2004) 5.1.3 New Interactive Generative Works (2004-2005) 5.2 2005-2010 5.2.1. Tango Tangle (2006) 5.2.2 Shaping Form (from 2007) 5.2.3 Cities

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Book SynopsisMemory matters. It matters because memory brings the past into the present, and opens it up to the future. But it also matters literally, because memory is mediated materially. Materiality is the stuff of memory. Meaningful objects that we love (or hate) function not only as aide-mÃmoire but are integral to memory. Drawing on previous scholarship on the interrelation of memory and materiality, this book applies recent theories of new materialism to explore the material dimension of memory in art and popular culture. The bookâs underlying premise is twofold: on the one hand, memory is performed, mediated, and stored through the material world that surrounds us; on the other hand, inanimate objects and things also have agency on their own, which affects practices of memory, as well as forgetting. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://s3-us-west-2Trade Review"This book arises from authors doing rigorous interdisciplinary work and demonstrates just the kind of Swiss army knife of intellectual tools needed to tackle the problems and puzzles of memory and materiality." --Lindsey A. Freeman, State University of New York-Buffalo State, USATable of ContentsPrelude: The Memory Cabinet of Mrs. K. 1960 A poem by Susan Stewart1. Things to Remember: Introduction to Materializing Memory in Art and Popular Culture (László Munteán, Liedeke Plate, and Anneke Smelik)Part I: Material Remains: Ruins and Souvenirs2. El Helicoide: Modern Ruins and the Urban Imaginary (Celeste Olalquiaga)3. Souvenirs and Memory Manipulation in the Roman Empire: The Glass Flasks of Ancient Pozzuoli (Maggie L. Popkin)Part II: Entangled Memories4. How Memory Comes to Matter: From Social Media to the Internet of Things (Elisa Giaccardi and Liedeke Plate)5. Memory and Materiality in Hussein Chalayan’s Techno-Fashion (Lianne Toussaint and Anneke Smelik)6. Size Matters: Karl Ove Knausgård’s Min Kamp and Roberto Bolaño’s 2666 as (Anti-) Monumental Novels (Inge van de Ven)Part III: Reenactment, Affect, and Remembrance7. Archives of Affect: Performance, Reenactment, and the Becoming of Memory (Louis van den Hengel)8. Crystal Tears and Silver Maces: Materializing Memories of the Suffering Mother (Willy Jansen)9. The Staging of Memory in Los Rubios by Albertina Carri (Anna Forné)Part IV: Corporeality and Objects of Trauma10. Chilling Burlesque: The Act of Killing (Aleid Fokkema)11. Modeling the Memories of Others: David Levinthal’s I.E.D. War in Afghanistan and Iraq (László Munteán)

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Book SynopsisThe #metoo movement has forced many fans to consider what they should do when they learn that a beloved artist has acted immorally. One natural thought is that fans ought to give up the artworks of immoral artists. In Why Itâs OK to Enjoy the Work of Immoral Artists, Mary Beth Willard argues for a more nuanced view. Enjoying art is part of a well-lived life, so we need good reasons to give it up. And it turns out good reasons are hard to find. Willard shows that itâs reasonable to believe that most boycotts of artists wonât succeed, so most of the time thereâs no ethical reason to join in. Someone who manages to separate the art from the artist isnât making an ethical mistake by buying and enjoying their art. She then considers the ethical dimensions of canceling artists and the so-called cancel culture, arguing that canceling is ethically risky because it encourages moral grandstanding. Willard concludes by arguing that the popular debate has overlooked the power of aTrade Review"The question of what to do with the works of artists who have committed serious moral transgressions has never felt more pressing than it has in the years since the #metoo movement shook the foundations of the art and entertainment industry. Like many other flashpoints of contemporary discourse, discussion of this issue has been intensely polarized between strident reformers and their reactionary opponents. Little effort has been made to explore the middle ground. Mary-Beth Willard's Why it's OK to Enjoy the Work of Immoral Artists is a refreshing attempt to do just that. In a clear and accessible style, she carefully surveys a range of arguments on both sides, taking these arguments seriously while at the same time insisting that they must be critically scrutinized and weighed against competing considerations.This book is essential reading for anyone seriously interested in the topic. Many readers will find their views challenged by Willard's arguments, and whether they come away convinced or not, they will no doubt benefit from considering her thoughtful and nuanced point of view."Matthew Strohl, University of MontanaTable of Contents1. Introduction 2. Boycotts as Punishment 3. Expressive Boycotts 4. Separating the Art from the Artists 5. #CancelEverything 6. Aesthetic Lives, Ethical Reason

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Book SynopsisThe Art of Theatrical Design: Elements of Visual Composition, Methods, and Practice, Second Edition, contains an in-depth discussion of design elements and principles for costume, set, lighting, sound, projection, properties, and makeup designs.This textbook details the skills necessary to create effective, evocative, and engaging theatrical designs that support a play contextually, thematically, and visually. It covers key concepts such as content, context, genre, style, play structure, and format and the demands and limitations of various theatrical spaces. The book also discusses essential principles, including collaboration, inspiration, conceptualization, script analysis, conducting effective research, building a visual library, developing an individual design process, and the role of the critique in collaboration. This second edition includes A new chapter on properties management and design. A new chapter on makeup design. A new chapTable of ContentsPart 1: Beginnings, 1. What is Theatrical Design?, 2. Form, Content, and Context, 3. Genre, 4. Style, 5. Dramatic Structure, Part 2: Elements of Design, 6. Line, 7. Shape, Form, Mass, Volume, and Space, 8. Value, 9. Color, 10. Texture, 11. Creating the Illusion of Depth on a Flat Surface, Part 3: Principles of Design, 12. Unity and Variety, 13. Balance, 14. Repetition, Rhythm, and Pattern, 15. Scale and Proportion, 16. Emphasis and Subordination, Part 4: Core Principles for the Theatrical Designer, 17. Collaboration, 18. Analysis, 19. Conceptualization, 20. The Design Process, 21. The Role of Critique, 22. Drawing as Our Common Language, 23. Rendering, 24. Digital Rendering, Part 5: Individual Design Areas, 25. Costume Design, 26. Makeup Design, 27. Scene Design, 28. Properties Direction and Design, 29. Lighting Design, 30. Sound Design, 31. Digital Media and Projection Design

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Book SynopsisThe world''s most influential contemporary-art curator explores the history and practice of his craftHans Ulrich Obrist curated his first exhibit in his kitchen when he was twenty-three years old. Since then he has staged more than 250 shows internationally, many of them among the most influential exhibits of our age.Ways of Curating is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries and continents, flitting from meetings with the artists who have inspired him (including Gerhard Richter, Louise Bourgeois, and Gilbert and George) to biographies of influential figures such as Diaghilev and Walter Hopps. It describes some of the greatest exhibitions in history, as well as some of the greatest exhibitions never realized. It traces the evolution of collections from Athanasius Kircher''s seventeenth-century Wunderkammer to modern museums, and points the way for projects ye

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Book SynopsisThis retrospective volume places Jack Leigh in the company of other documentary giants such as Walker Evans and Dorothea Lang.

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Book SynopsisAn intimate portrait of two years on the eve of fame by a friend and collaborator of the Wailers.

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Book SynopsisAll about berries, both usual and unusual, with beautiful watercolor illustrations and ninety recipes.

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Book SynopsisA fresh new voice in art and cultural criticism takes on the day's most pressing questions about representations of violence in art.

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Book SynopsisA never-before-published edition of the rare chromolithographic Audubon prints of American birds.Trade Review"Staggeringly beautiful." -- Buffalo News

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Book SynopsisAfter a long period of isolation, Vietnam has begun to open its doors to the rest of the world. The nation has experienced an internal liberalization which created dramatic changes in economic, social and artistic spheres. This documentary study focuses on the daily lives of ordinary people.

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Book SynopsisThe "riveting" (Houston Chronicle), "captivating" (Discover), and "compulsively readable" (San Francisco Chronicle) story of the discovery that handwashing helps prevent the spread of disease.Trade Review"Nuland has managed to rediscover a critical moment in the history of medicine, the anxieties of which…persist today." -- New York Times Book Review

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Book SynopsisRick Sammon leads us through twenty step-by-step workshops on how to edit our photographs using the most popular imaging software available.

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Book SynopsisWith some of the finest collections in the world, London's museums and galleries alone are worthy of a trip to England's capital.

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Book SynopsisA stunning visual game that helps readers enjoy, appreciate, and identify great works of art.

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Book SynopsisThe "nasty, negative, misanthropic" comic genius proves he has a sweet side.

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Book SynopsisImagine that a terrorist tried to kill you. If you could face him again, on your terms, what would you do?Trade Review"In telling the story of Raisuddin Bhuiyan, an immigrant who pleaded for clemency for the white racist who tried to kill him, Anand Giridharadas presents an absorbing, haunting picture of what has happened to large tranches of the US." -- The Irish Times"Remarkable... A richly detailed, affecting account... Giridharadas seeks less to uplift than illuminate." -- The New York Times Book Review"Moving and indelible... manifestly inspirational..." -- Salon

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Book SynopsisAn entertaining and illuminating collection of 100 surprising connections between math and the arts.Trade Review"One of the best popular science writers in the universe." -- New York Journal of Books"[Barrow’s] approach opens the whole world to mathematical analysis. . . . Just as there is math in the arts, there is also an art to math." -- Matthew Hutson - Washington Post

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