The arts: general topics Books

Book SynopsisThis eclectic compilation of readings tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. This third edition includes new readings across the volume, with added material on the early origins of rock ''n'' roll as well as coverage of recent developments, including the changing shape of the music industry in the twenty-first century. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value, The Rock History Reader continues to appeal to scholars and students from a variety of disciplines.New to the third edition: Nine additional chapters from a broad range of perspectives Explorations of new media formations, industry developments, and the intersections of music and labor For the first time, a companion website providing users wiTable of ContentsSection I The 1950s / Chapter 1 Du-Wop (Johnny Keyes) / Chapter 2 "Miss Rhythm" Speaks Out: Ruth Brown on R&B and Covers / Chapter 3 Leiber & Stoller (Ted Fox) / Chapter 4 "Leer-ics": A Warning to the Music Business (Abel Green) / Chapter 5 Chuck Berry: In His Own Words / Chapter 6 Elvis Presley and "The Craze" (John Crosby) / Chapter 7 "Elvis Defends Low-Down Style" (Kays Gary) / Chapter 8 "Experts Propose Study of ‘Craze’" (Milton Bracker) / Chapter 9 Earl Palmer and the Heartbeat of Rock ‘n’ Roll (Tony Scherman) / Chapter 10 The Rock ‘n’ Roll Audience: "But Papa, It’s My Music, I Like It" (Jeff Greenfield) / Chapter 11 The History of Chicano Rock (Rubén Guevara) / Chapter 12 "Music Biz Goes Round and Round: It Comes Out Clarkola" (Peter Bunzel) / Section II The 1960s / Chapter 13 "The King of Surf Guitar" (Dave Schulps) / Chapter 14 Phil Spector and The Wall of Sound (Ronnie Spector) / Chapter 15 The Beatles, Press Conference, 1964 / Chapter 16 "U.S. Musicians’ Union Says, ‘Beatles Stay Home’" (Victor Riesel) / Chapter 17 "Beatlemania Frightens Child Expert" (Dr. Bernard Saibel) / Chapter 18 "Understanding Dylan" (Paul Williams) / Chapter 19 "Raga Rock": The Byrds, Press Conference, 1966 / Chapter 20 Motown: A Whiter Shade of Black (Jon Landau) / Chapter 21 James Brown: Soul Brother No. 1 (Fred Wesley, Jr.) / Chapter 22 "Goodbye Surfing Hello God!—The Religious Conversion of Brian Wilson" (Jules Siegel) / Chapter 23 Rock and the Counterculture (Chester Anderson) / Chapter 24 The FM Revolution: "AM Radio—‘Stinking Up the Airwaves’" (Tom Donahue) / Chapter 25 An Interview with Peter Townshend (Jann Wenner) / Chapter 26 Gimme Shelter: Woodstock and Altamont (Joel Haycock) / Section III The 1970s / Chapter 27 "Sweet Baby James": James Taylor Live (Alfred Aronowitz) / Chapter 28 "Cock Rock: Men Always Seem to End Up on Top" (Rat Magazine) / Chapter 29 Carly Simon on Music and the Women’s Movement (Loraine Alterman) / Chapter 30 "How to be a Rock Critic" (Lester Bangs) / Chapter 31 "Reggae: The Steady Rock of Black Jamaica" (Andrew Kopkind) / Chapter 32 "Roots and Rock: The Marley Enigma" (Linton Kwesi Johnson) / Chapter 33 Dub and the "Sound of Surprise" (Richard Williams) / Chapter 34 Reflections on Progressive Rock (Bill Bruford) / Chapter 35 "Disco! Disco!: Four Critics Address the Musical Question" / Chapter 36 "Why Don’t We Call It Punk?" (Legs McNeil and Gillian McCain) / Chapter 37 The Subculture of British Punk (Dick Hebdige) / Chapter 38 "The Confessions of a Gay Rocker" (Adam Block) / Section IV The 1980s / Chapter 39 Punk Goes Hardcore (Jack Rabid) / Chapter 40 College Rock: "Left of the Dial" (Gina Arnold) / Chapter 41 "Roll Over Guitar Heroes; Synthesizers Are Here" (Jon Young) / Chapter 42 "MTV Ruled the World": The Early Years of Music Video (Greg Prato) / Chapter 43 "Molly Hatchet: Celebrity Rate-A-Record" (Hit Parader Magazine) / Chapter 44 The Parents Music Resource Center: Statement before Congress (Susan Baker and Tipper Gore) / Chapter 45 Heavy Metal and The Highbrow/Lowbrow Divide (Robert Walser) / Chapter 46 "The Real Thing—Bruce Springsteen" (Simon Frith) / Chapter 47 Hip Hop Nation (Greg Tate) / Chapter 48 "Madonna—Finally, A Real Feminist" (Camille Paglia) / Chapter 49 "Can Madonna Justify Madonna?" (Barbara Grizzuti Harrison) / Section V The 1990s / Chapter 50 Is As Nasty As They Wanna Be Obscene? Judge Jose Gonzalez and Kathleen M. Sullivan / Chapter 51 "Public Enemy’s Bomb Squad" (Tom Moon) / Chapter 52 "The Death of Sampling?" (Mark Kemp) / Chapter 53 "Kurt Cobain and the Politics of Damage" (Sarah Ferguson) / Chapter 54 "The Problem with Music" (Steve Albini) / Chapter 55 "Feminism Amplified" (Kim France) / Chapter 56 "Rock Aesthetics and Musics of the World" (Motti Regev) / Chapter 57 "Electronic Eden": Techno Goes Mainstream (Karen Schoemer) / Chapter 58 Nü Metal and Woodstock ’99 (Barry Walters) / Chapter 59 Indie Pop Goes Twee (Joey Sweeney) / Chapter 60 "So You Wanna Fake Being an Indie Rock Expert?" (SoYouWanna.com) / Section VI The 2000s / Chapter 61 Metallica vs. Napster (Lars Ulrich) / Chapter 62 "Mother, Should I build a Wall?": Radiohead Face the Challenges of New Rock (Douglas Wolk) / Chapter 63 "My Week on the Avril Lavigne E-Team" (Chris Dahlen) / Chapter 64 "In Defense of Post-Grunge Music" (Sasha Geffen) / Chapter 65 Defining Emo (Urban Dictionary) / Chapter 66 "Even Heavy-Metal Fans Complain That Today's Music Is Too Loud!!!" (Evan Smith) / Chapter 67 The Whiteness of Indie and the "Myth of Vampire Weekend" (Paul Lester) / Chapter 68 "Why Country is the New Classic Rock" (Steve Leftridge) / Section VII The 2010s / Chapter 69 "Why no Yes in the Rock Hall?" (John Covach) / Chapter 70 "A Response to ‘Why no Yes in the Rock Hall’" (Lauren Onkey) / Chapter 71 "Mumford & Sons Preaches to the Masses" (Ann Powers) / Chapter 72 "Making Cents": Musician Royalties in the Digital Age (Damon Krukowski) / Chapter 73 "Top 25 Metal Genres on Spotify" (Eliot Van Buskirk) / Chapter 74 "Marginalization in the Music Industry: A Twitter Exposé" (Jessica Hopper) / Chapter 75 Twenty One Pilots: "The Slippery Appeal of the Biggest New Band in America" (Jia Tolentino) / Chapter 76 "Who Will Save the Guitar?" (Michael Molenda) / Chapter 77 "Where Have All the Rock Stars Gone?" (David Shumway)

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Book SynopsisColor is one of cinemaâs most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings. But what if color is notâor not onlyâa formal system, but instead a linguistic effect, emerging from the slipstream of our talk and embodiment in a world? This book develops a compelling framework from which to understand the mobility of color in art and mind, where color impressions are seen through, and even governed by, patterns of ordinary language use, schemata, memories, and narrative.Edward Branigan draws on the work of Ludwig Wittgenstein and other philosophers who struggle valiantly with problems of color aesthetics, contemporary theories of film and narrative, and art-historical models of analysis. Examples of a variety of media, from American pop art to contemporary European cinema, illustrate a theory based on a spectatorâs present-time tracking of temporal patterns that are firmly entwineTrade Review'This is an extraordinary achievement -- a major work (perhaps Branigan's most impressive yet) by one of our most important film theorists and philosophers. While color studies in film have exploded over the last fifteen years, most of the work has moved very cautiously and largely in a historicist fashion, one that privileges accounts of emerging technological innovations and to a lesser extent style at the expense of the fascinating perceptual questions color and color filmmaking raises. Branigan takes these questions head on and the results are positively stunning. It is the first book -- in film studies, at least -- to deal at great length and specificity with the question of color perception and color style. As I mentioned, most books shy away from stylistic analysis and the rich philosophical questions that color poses about perception and, as Branigan indicates very daringly, about how real the real world is.' -- Brian Price, University of Toronto'Branigan takes a Wittgensteinian approach to color that "focuses not on what color is, but on how it functions, what it does for us, what we make of it." For our delectation, he offers us an extraordinarily rich and provocative feast that takes us beyond cinema to the uses and meanings of color in painting, philosophy and literature.' -- C.L. Hardin, Professor of Philosophy, Emeritus, Syracuse University. Author of Color for Philosophers: Unweaving the Rainbow (1993). Table of ContentsPreface1. Introduction and Overview2. Living with Chromophilia3. Stand or Track?4. What's in White?5. Making it Color-Full6. Musical Hues: Color Harmony7. Track this Color (in Place)8. Track that Color (in Movement)9. Summary10. Conclusion

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Book SynopsisWidely referred to as the bible of stage makeup, the timely revision of this classic text addresses principles and techniques in the use of makeup for the contemporary performer.This extensive exploration of the application and use of stage makeup and makeup for a variety of performance venues covers all aspects in detail and contains over 1000 photographs, drawings, and diagrams demonstrating step-by-step procedures. Thoroughly updated and revised, this classic text remains accurate and comprehensive, providing information from which all readers whether students new to the field or seasoned, professional makeup artists will benefit.New to this edition: Updated full-color photography throughout Expanded information on makeup design and application 48 new step-by-step instructions in color Expanded chapter on modeling with highlights and shadows New chapter on cross-gender mTrade Review"Creating a book that is a highly detailed nuts and bolts manual and an inspirational guide is a true balancing act. The monumental logistics of working with collaborator experts and multiple models, of documenting complicated processes, while honoring the work of the original author are to be commended. This edition includes Richard Corson’s preface; new readers can hear in his own words how he wanted performers, designers, and directors and makeup artists to use his book. The contemporary practice of makeup design and application has been left in capable hands, ensuring that the legacy of Corson’s classic work reaches forward to future generations through James Glavan and Beverly Gore Norcross." - Margaret Mitchell, Theatre Design & Technology Table of Contents1. Facial Anatomy 2. Color Theory 3. The Studio Classroom 4. Relating the Makeup to Character 5. Designing the Makeup 6. Applying Makeup 7. Corrective Makeup 8. Modeling with Highlights and Shadows 9. Natural Makeup for Film & TV 10. Special Effects Makeup 11. Prosthetic Makeup 12. Beards and Mustaches 13. Wigs 14. Cross-Gender Makeup 15. Nonrealistic Makeup

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Book SynopsisIn the era of the Anthropocene, artists and scientists are facing a new paradigm in their attempts to represent nature. Seven chapters, which focus on art from 1780 to the present that engages with Nordic landscapes, argue that a number of artists in this period work in the intersection between art, science, and media technologies to examine the human impact on these landscapes and question the blurred boundaries between nature and the human. Canadian artists such as Lawren Harris and Geronimo Inutiq are considered alongside artists from Scandinavia and Iceland such as J.C. Dahl, Eija-Liisa Ahtila, Toril Johannessen, and BjÃrk. Table of ContentsList of Color Plates List of FiguresList of ContributorsIntroduction: Artistic Visions of the Anthropocene North: ClimateChange and Nature in Art GRY HEDIN & ANN-SOFIE N. GREMAUDPART IInteraction between Art and Science 1 Anthropocene Beginnings: Entanglements of Art and Science in Danish Art and Archaeology 1780– 1840 GRY HEDIN2 A Montage of Notes from Svalbard: Mediating the Arctic throughArtistic Research EVA LA COURPART IIChanging Narratives of the Anthropocene and the North 3 Northern Landscape and the Anthropocene: A Long View MARK A. CHEETHAM4 "We All Have to Live By What We Know": Activating Memoryscapes in the North Baffin Inuit Drawing Collection to Understand Arctic Environmental Change NORMAN VORANOPART IIIMedia and Blurred Boundaries between Nature and the Human 5 Conversations between Body, Tree and Camera in the work of Eija-Liisa Ahtila KATARINA WADSTEIN MACLEOD6 Toril Johannessen’s In Search of Iceland Spar: Truth and Illusion in the Anthropocene SYNNØVE MARIE VIK7 From within the Porous Body: Modes of Engagement in Björk’s Biophilia Album ANN-SOFIE N. GREMAUDBibliography 156Index 169

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Book SynopsisThe Art of Type and Typography is an introduction to the art and rules of typography. Incorporating the industry standardInDesignfor typesetting from the outset, this book serves as a guide for beginning students to learn to set type properly through tutorials, activities, and examples of student work. Encompassing the history of typography from ancient times to widespread modern use, The Art of Type and Typography provides context and fosters creativity while developing key concepts, including: The history of type; Terminology; Classification; Measurement; Spacing; Alignment; Legibility; Hierarchy; Layout and Grids; Page Elements; InDesign tools and style sheets. Writing clearly and to the point, Mary Jo Krysinski brings over 30 years of desigTrade Review"This book combines history, mechanics, and digital practice of type into one. The book supports its theoretical discussion of type with tutorials of digital tools and creative assignments—promising to serve as a single source with which educators can teach typography today."—Dr. Gökhan Ersan, Assistant Professor, SUNY Binghamton"This book combines history, mechanics, and digital practice of type into one. The book supports its theoretical discussion of type with tutorials of digital tools and creative assignments—promising to serve as a single source with which educators can teach typography today."-- Dr. Gökhan Ersan, Assistant Professor, SUNY Binghamton"Overall then this is an excellent book for the beginner who wishes to explore designing their own book." -- The Imagemaker Bookshelf, Issue 95Table of Contents1. Introduction2. History of Type and Lettering3. Using InDesign4. Letter Anatomy5. Type Measurement6. Spacing7. Display Type8. Text Alignment9. Text Separators10. Legibility and Readability11. Other Typographic Characters12. Typographic Hierarchy13. Layout and Structure14. Page Elements15. Type Specifications16. InDesign Style Sheets17. Type for Web Use18. Appendix - Glossary

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Book SynopsisThis volume adopts a practice-based approach to examine the different ways in which classification is communicated and negotiated in different environments within archaeology. The book looks specifically at the archaeological classification of ceramics as a lens through which to examine the discursive and social practices inherent in the classification and categorization process, with perspectives from such areas as corpus linguistics, discourse analysis, linguistic anthropology, and archaeology forming the foundation of the book's theoretical framework. The volume then looks at the process of classification in practice in a variety of settings, including a university course on ceramics classification, an archaeological field school, an intensive petrography course, and archaeometry laboratory at a nuclear research reactor, and highlights participant observation and audiovisual data taken from fieldwork practice completed in these environments. This volume offers a valuable contribuTable of Contents1. Introduction: Negotiating Classification 2. Ceramics Classification 3. Teaching Classification: Classroom Typology 4. Classification in the Field: Historical Archaeology 5. Classification Down the Scope: Thin-Section Petrography 6. Classification Via Reactor: Instrumental Neutron Activation Analysis 7. Classification as Personal Interpretation 8. Conclusion

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Book SynopsisWritten in the context of unprecedented dislocation and a global refugee crisis, this edited volume thinks through photography's long and complex relationship to human migration. While contemporary media images largely frame migration in terms of trauma, victimhood, and pity, so much more can be said of photography's role in the movement of people around the world. Cameras can document, enable, or control human movement across geographical, cultural, and political divides. Their operators put faces on forced and voluntary migrations, making visible hardships and suffering as well as opportunity and optimism. Photographers include migrating subjects who take pictures for their own consumption, not for international recognition. And photographs themselves migrate with their makers, subjects, and viewers, as the very concept of photography takes on new functions and meanings.Photography and Migration places into conversation media images and other phoTable of ContentsList of MapsList of IllustrationsAcknowledgementsAbout the ContributorsChapter 1Photography and Migration: KeywordsTanya Sheehan(Im)mobilityChapter 2Back to America: Photography and Japanese Americans from Incarceration to ResettlementJasmine Alinder Chapter 3Residential School Photographs: The Visual Rhetoric of Indigenous Removal and ContainmentCarol WilliamsChapter 4Animating Death: Stills That MigrateAnne Teresa DemoBorderChapter 5The Razor’s Edge: Image and Corpo-reality at Europe’s BordersParvati NairChapter 6Fantasy Islands: Photography, Empathy, and Australia’s Detention ArchipelagoJane LydonChapter 7The Indecisive Moment: Photoethnography on the Undocumented Migration TrailJason De LeónRefugeeChapter 8Refugee Photography and the Subject of Human InterestThy PhuChapter 9Feelings, Facebook, Forced Migration: Photographs of Refugees and Affective Spaces OnlineMarta ZarzyckaChapter 10The Visual Politics of Climate RefugeesT. J. DemosDiasporaChapter 11Photography and Diaspora: A RoundtableAnthony W. Lee with Pok Chi Lau, Surendra Lawoti, and Wei Leng TayChapter 12Intimacy Out of Doors: Landscape, Labor, and Chinese Diasporic Practices of LookingNadine AttewellChapter 13Kan Azuma and the Japanese Canadian Diaspora: Perception, Identity, and Their ErosionMartha Langford

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Book SynopsisThe flowering of Gothic architecture depended to a striking extent on the use of drawing as a tool of design. By drawing precise blueprints with simple tools such as the compass and straightedge, Gothic draftsmen were able to develop a linearized architecture of unprecedented complexity and sophistication. Examination of their surviving drawings can provide valuable and remarkably intimate information about the Gothic design process. Gothic drawings include compass pricks, uninked construction lines, and other telltale traces of the draftsman''s geometrically based working method. The proportions of the drawings, moreover, are those actually intended by the designer, uncompromised by errors introduced in the construction process. All of these features make these drawings ideal subjects for the study of Gothic design practice, but their geometry has to date received little systematic attention. This book offers a new perspective on Gothic architectural creativity. It shows, in a seTrade Review'This is an exceptional book that casts new light on the design processes of medieval architects. Bork has taken the radical and novel step of looking at surviving medieval drawings in the hope of finding the geometrical logic behind their structures and decorations. The results have been spectacular. He can plot the lines the original designers actually used in developing their geometric schemes, and he does so with a sharpness of vision unmatched by any of his predecessors in the field. Bork is able to show a remarkable continuity of design practice in medieval architecture, from Villard de Honnecourt to Lorenz Lechler. Paul Frankl had already said as much, but no one before Bork has demonstrated it in such detail and with such authority.' Professor Paul Crossley, The Courtauld Institute of Art With his meticulous and creative study of dozens of drawings prepared by the master builders of Gothic cathedrals, Robert Bork makes a convincing case for a dynamic relationship between that Gothic "look" and the processes of creation. Animated by compasses and straightedge, geometric forms - especially squares, octagons and hexagons - seem to take on a life of their own, ordering the principal outlines of the yet-to-be-built church. This book will provide an invaluable resource for all students and lovers of Gothic architecture. Stephen Murray, Columbia University Robert Bork's impressive and rigorous analysis of the most spectacular medieval parchment drawings demonstrates that the shape and proportions of great Gothic churches arose from the assembly of accurately regulated geometrical figures, and that these figures were applied to façade and ground plan designs by routines that circulated widely in the Gothic world. Thus, Bork's investigation lets us literally see behind the curtain of the medieval builder's studio. It reveals geometry as the key to a deeper understanding of the way medieval monuments were generated by architects eager to establish their professionTable of ContentsContents: Introduction: geometry and the Gothic design process; The origins of Gothic architectural drawing; The flowering of rayonnant drawing in the Rhineland; Italian drawings up to 1350; Germanic tower drawings and the elaboration of tradition; Wider horizons; The Italian Challenge to the Gothic design system; Conclusion: Gothic drawings as traces of the creative process; Bibliography; Index.

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Book SynopsisThe first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the ''Young British Artists''. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scaTrade ReviewWinner, Henry Moore Foundation Grant '... sustained attention is lent to the appearance, properties and rhetorical modes of sculpture, and to the open question of its particular relationship to contemporary reality.' Burlington Magazine'This first work by Rachel Wells offers a contribution to thinking about recent developments in sculpture which is as unexpected as it is remarkable. This analysis undertakes a critique of postmodernist theories and their effect on the perception of sculptural practices, which, since the end of the 1980s, explore the concept of scale by means of enlargement, miniaturisation or the life-size. Through a selection of artists - from Claes Oldenberg to Do-Ho-Suh, via the Young British Artists, Ron Mueck, Mark Wallinger, Elizabeth Wright and Michael Landy - Rachel Wells outlines the genesis of a sculptural tendency which, because it is imbued with the preoccupations underlined by postmodern theory, has been considered as the expression of a denial of all certainty and of the stable value which would make possible the interpretation of the real..." Sandra Delacourt, Critique d’art Table of ContentsContents: Preface; Introduction: defining scale: Enlargement and miniaturisation; The life size; Photography, sculpture and scale; Conclusion; Bibliography; Index.

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Book SynopsisAt the end of his life, Pierre Schaeffer commented that his musical and sound experiments had attempted to go beyond ''do-re-mi''. This had a direct bearing on EinstÃrzende Neubauten''s musical philosophy and work, with the musicians always striving to extend the boundaries of music in sound, instrumentation and purpose. The group are one of the few examples of ''rock-based'' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. Jennifer Shryane provides a much-needed analysis of the group''s important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. EinstÃrzende Neubauten have also made a consistent and unique contribution to the development of the independent German Language Contemporary MusicTrade Review'... this book is an important contribution to the research of German popular music.' Popular MusicTable of ContentsPart I Context for Destruction; prologue1 Prologue: Being There/Not Being There; Chapter 1 Architecture, Angels and Utopia; Chapter 2 Kattrin’s Drum: Germany & Music – Identity, Politics & Memory; Chapter 3 Free to Make Noise; Chapter 4 Demonic Berlin; Part II Performing Destruction; prologue2 Prologue: ‘They were always quoting Artaud’; Chapter 5 Strategies against the Body; Chapter 6 Strategies against the Corner; Chapter 7 Strategies against the Voice; Chapter 8 Strategies against the Scream; Chapter 9 Strategies against the Text; Part III Performing Reconstruction; prologue3 Prologue: ‘We know we have witnesses’; Chapter 10 ‘A Small Utopia’; conclusion Conclusion ‘To infect others’ Einstürzende Neubauten Warten auf die Barbaren Jo Mitchell’s Reconstruction of Concerto for Voice and Machinery ‘She is Happy like Roadworks’;

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Book SynopsisThis book investigates the architectural, product design, and urban typology of the capsule which, beginning in the 1960s, broadened the concept of the basic building blocks of architecture to include a minimal living unit, called the capsule. Here it is presented with regard to the continuity of the development of the Modern Movement, its revisionist criticism, pioneering examples, as well as contemporary examples and uses. The typology of the capsule allows us to consider this theme in terms of the architecture of resistance, with the potential to search for an other architecture that is embedded in our contemporaneity (manifested in small dwellings, composite structures, and container units; shelters and mobile homes in nature and the urban environment; technology transfer in high-tech designs; devices, additions, and extensions etc.). The concept of the capsule as a building element of architecture, as well as a spatial element, can therefore be regarded as having a generatTrade Review"Rereading the history of 20th century architecture through the lens of the capsule, Peter Šenk reassesses a line of technotopianism in modernism. His ‘genealogy of the capsule‘, from functionalism over Buckminster Fuller, team X, metabolism, Archigram and the hippie scene, is a refreshing rediscovery of architectural dreams in the Space and Machine Age." - Lieven De Cauter, Author of a.o. The Capsular Civilization. "A capsule in architecture. This "monad" of human inhabitation, driven by industrialization and rapid growth of population, was one of the most typical phenomenon of the last century. Now, the architects’ enthusiasm seems to be lulled. However, our planet is still growing. The issue is more related to philosophy than to design fashion. Peter Šenk's well-informed and well-thought-out book will provide the guideline for the next stage of monadist world still in the population explosion." - Hajime Yatsuka, Architect and Critic, Organizer of the "METABOLISM THE CITY OF THE FUTURE" Exhibition (2011 Tokyo, 2013 Taipei).Table of Contents1. Frame(work). 2. Development: Pioneers and Contemporaries. Subsistence Minimum (Existenzminimum). CIAM and the New Generation. From Buckminster Fuller to Counterculture 1960. British Techno-Utopia and Experiments for the Immediate Future. Japanese Metabolism and the Philosophy of Change. 3. Catalog: Typology and Its Manifestation. Autonomous Cells. Connective Cells. 4. Medium: Typology and Image. Envelope: Protection and Representation (Exterior). Envelope: Comfort Equipment and Feedback Simulation (Interior). Prefabricated Integrity (Structure, Function, Representation). Temporariness (Time and Space). Mobility (Movement). 5. Coda: In Pursuit of Other Architecture. Select Bibliography. Index.

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Book SynopsisRecomposing the Past is a book concerned with the complex but important ways in which we engage with the past in modern times. Contributors examine how media on stage and screen uses music, and in particular early music, to evoke and recompose a distant past. Culture, popular and otherwise, is awash with a stylise - sometimes contradictory - musical history. And yet for all its complexities, these representations of the past through music are integral to how our contemporary and collective imaginations understand history. More importantly, they offer a valuable insight into how we understand our musical present. Such representative strategies, the book argues, cross generic boundaries, and as such it brings together a range of multimedia discussion on the subjects of film (Lord of the Rings, Dangerous Liasions), television (Game of Thrones, The Borgias), videogame (Dragon Warrior, Gauntlet), and opera (Written on Skin, TavernerTable of ContentsIntroduction: Understanding the Present through the Past; the Past through the Present James Cook, Alexander Kolassa, and Adam Whittaker Part 1: Authenticity, Appropriateness, and Recomposing the Past Chapter 1: Representing Renaissance Rome: Beyond Anachronism in Showtimes The Borgias (2011) James Cook Chapter 2: Baroque à la Hitchcock: The Music of Dangerous Liaisons (1988) Mervyn Cooke Chapter 3: ‘Frame not my Lute’: The Musical Tudor Court on the Big Screen Daniela Fountain Chapter 4: It Ain’t Over ‘til King Arthur Sings: English Dramatick Opera on the Modern Stage Katherina Lindekens Part 2: Music, Space, and Place: Geography as History Chapter 5: Musical Divisions of the Sacred and Secular in 'The Hunchback of Notre Dame' Adam Whittaker Chapter 6: Celtic Music and Hollywood Cinema: Representation, Stereotype, and Affect Simon Nugent Chapter 7: David Munrow’s ‘Turkish Nightclub Piece’ Edward Breen Chapter 8: Little Harmonic Labyrinths: Baroque Musical Style on the Nintendo Entertainment System William Gibbons Part 3: Presentness and the Past: Dialogues between Old and New Chapter 9: Presentness and the Past in Contemporary British Opera Alexander Kolassa Chapter 10: Angels in the Archive: Animating the Past in 'Written on Skin' Maria Ryan Chapter 11: Werner Herzog and the Filmic Dark Arts: Myth, Truth, Music, and the Life of Carlo Gesualdo (1566–1613) Philip Weller Chapter 12: Medievalism, Music, and Agency in The Wicker Man (1973) Lisa Colton Chapter 13: Music in Fantasy Pasts: Neomedievalism and 'Game of Thrones' James Cook, Alexander Kolassa, and Adam Whittaker

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Book SynopsisThe Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network Table of Contents1. A Metaphysical Medieval Assemblage 2. Analytic Introduction 3. Deterritorialized Bodies 4. The Taking-Place of Prayer 5. On Reterritorialization

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Book SynopsisThis book opens a new interdisciplinary frontier between religion and theatre studies to illuminate what has been seen as the religious, or spiritual, nature of Polish theatre director Jerzy Grotowski's work. It corrects the lacunae in both theatre studies and religious studies by examining the interaction between the two fields in his artistic output. The central argument of the text is that through an embodied and materialist approach to religion, developed in the work of Michel Foucault and religious studies scholar Manuel Vasquez, as well as a critical reading of the concepts of the New Age, a new understanding of Grotowski and religion can be developed. It is possible to show how Grotowski's work articulated spiritual experience within the body; achieving a removal of spirituality from ecclesial authorities and relocating spiritual experience within the body of the performer.This is a unique analysis of one of the 20th Century's most famouTable of ContentsIntroduction: Grotowski and interdisciplinary engagements 1 Rendering Grotowski’s spirituality: perspectives from performance and theatre studiesPart One: Foucault and Grotowski’s Theatre of Productions phase 2 Foucault, religion and Grotowski 3 A Foucaultian imperative in Grotowski’s theatre Part Two: The New Age, the body and Grotowski4 Critical thinking about the New Age 5 Grotowski, embodiment and the New Age6 Yoga, shamanism and ritual in Grotowski’s work7 Trance, channeling and the ancestors in Grotowski’s theatre8 Grotowski and Gurdjieff: embodied resemblances9 Grotowski as Guru: an interdisciplinary challengeConclusion

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Book SynopsisUsing a combination of artistic approach and impeccable technique, professional photographers John and Barbara Gerlach guide you through the field as you photograph intriguing and captivating subjects out in the wild. Learn how to integrate equipment with technique to capture superb wildlife images of birds, mammals, amphibians, and more, with an emphasis on precision and speed. This book includes all of the details you need to capture wildlife photos easily and consistently choose the right lens and best lighting while following simple composition guidelines that are perfect for wildlife. John and Barbara Gerlach have taken more than a million wildlife images since 1978 and run seminars and workshops all over the world. Their pictures have been published in Outdoor Photographer, Audubon, Popular Photography National Wildlife, Sierra, Natural History, Petersen's Photographic, Ranger Rick, Birder's World, as well as books published by National Geographic Table of ContentsIntro; Camera Accessories; Choosing and Using Lenses; Exposing Fast and Accurately; Focusing Techniques; Shooting Quality Images; Light-The Crucial Element; Composition; Getting Close to Wildlife; Terrific Wildlife Photography Locations; Traveling with Your Photo Gear; Our Basic Workflow; Resources

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Book SynopsisIn the motets of Philippe de Vitry, Guillaume de Machaut, and their contemporaries, tenors have often been characterized as the primary shaping forces, prior in conception as well as in construction to the upper voices. Tenors are shaped by the interaction of talea and color, medieval terms now used to refer to the independent repetition of rhythms and pitches, respectively. The presence in the upper voices of the periodically repeating rhythmic patterns, often referred to as isorhythm, has been characterized as an amplification of tenor structure. But a fresh look at the medieval treatises suggests a revised analytical vocabulary: for many fourteenth- and fifteenth-century writers, both color and talea involved rhythmic repetition, the latter in the upper voices specifically. And attention to upper-voice taleae independently of tenor structures brings renewed emphasis to the significant portion of the repertory in which upper voices evince formal schemes that differ from those in tTable of ContentsContentsList of Music ExamplesList of FiguresList of Tables[Acknowledgements]Note on Music Examples and Naming Conventions1 Introduction2 Foundational Tenors and the Power Dynamics of Compositional Process3 Talea and/as Color4 A Catalogue of Upper-Voice Structures5 The Hermeneutic Stakes: Reading Form in S’il estoit/S’Amours 6 A New Paradigm for Motet Composition: Colla/Bona Reconstructed ConclusionAppendix: Music-Theoretical Discussions of talea and color, c. 1340–1430Bibliography[Index]

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Compelling and troubling, colorful and dark, black figures served as the quintessential image of difference in nineteenth-century European art; the essays in this volume further the investigation of constructions of blackness during this period. This collection marks a phase in the scholarship on images of blacks that moves beyond undifferentiated binaries like 'negative' and 'positive' that fail to reveal complexities, contradictions, and ambiguities. Essays that cover the late eighteenth through the early twentieth century explore the visuality of blackness in anti-slavery imagery, black women in Orientalist art, race and beauty in fin-de-siècle photography, the French brand of blackface minstrelsy, and a set of little-known images of an African model by Edvard Munch. In spite of the difficulty of resurrecting black lives in nineteenth-century Europe, one essay chronicles the rare instance of an American artist of color in mid-nineteenth-century Europe. With analyses of works rangin

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Book SynopsisThe New Arts Entrepreneur is the first uniquely designed pedagogy for arts entrepreneurship educators and students. Melding an arts-first approach with understandable entrepreneurial concepts and newly formulated tools, the text helps arts students to envision themselves as an entrepreneurial CEO, not simply another random entrepreneur flailing through a maze of well-worn entrepreneurial suggestions that don't fit. At the core of the text are the entrepreneurial ecologies of the arts. The ecologies provide a framework to envision an entrepreneurial horizon for almost any arts-based business, included those ventures seeking to impact the production of art. In addition to this revolutionary framework, the text also introduces tools designed to compliment the ecologies. Designed with arts students in mind, it accomplishes two critical tasks not found in other textbooks: venture sustainability and decision-making. This newly developed approach focuses on the decisTrade Review"This textbook provides faculty and students with comprehensive frameworks to consider both the internal and external variables affecting the myriad decisions required to launch and run a successful creative practice as a creative venture." Stephen Rueff, The Journal of Arts Management, Law, and Society"A first-of-its-kind for aspiring arts entrepreneurs, this accessible and insightful textbook book will help shape the field of arts entrepreneurship. The book stands to be a seminal text, which will make a lasting contribution to arts entrepreneurs’ careers in today’s creative economy." James D. Hart, Director of Arts Entrepreneurship, Southern Methodist University, USA"Gary Beckman’s novel take on arts entrepreneurship, through his development of the Arts Ecologies, provides a brilliant yet accessible skills kit for future potential arts practitioners to orientate themselves business-wise in their distinct environments; thereby empowering them to create viable arts ventures. It will certainly become an essential tool for surviving the modern age as a freelance arts practitioner." Paul Loeb van Zuilenburg, University of Pretoria, South Africa and The South African City Orchestras"Moving away from the business school textbook approach, this book is written for arts entrepreneurs by an arts entrepreneur. The ecology metaphor encourages students to explore the sustainability of their arts venture in a whole new way." Todd A. Stuart, Associate Teaching Professor, Director of Arts Management & Entrepreneurship, Miami University, USATable of ContentsIntroduction Part 1: Arts Venture Creation 1. Business and Incorporation Models in the Arts 2. Startup Models in the Arts 3. Creating a Plan: Startup and Business Architecture 4. Estimating Revenue and Expenses Part 2: The Basic Arts Ecologies 5. Understanding the Entrepreneurial Ecology of the Arts (EEA) 6. An Overview of the Arts Ecologies 7. Basic Arts Ecologies 8. Using the EEA Part 3: Advanced Arts Ecologies 9. The Advanced Arts Ecologies: Extending the Model 10. Using the Advanced Ecologies Part 4: Tools

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Book SynopsisThis book provides an in-depth and thematic analysis of socially engaged art in Mainland China, exploring its critical responses to and creative interventions in Chinaâs top-down, pro-urban, and profit-oriented socioeconomic transformations. It focuses on the socially conscious practices of eight art professionals who assume the role of artist, critic, curator, educator, cultural entrepreneur, and social activist, among others, as they strive to expose the injustice and inequality many Chinese people have suffered, raise public awareness of pressing social and environmental problems, and invent new ways and infrastructures to support various underprivileged social groups.Trade Review"This significant monograph sketches a vivid portrait of the developing ecosystem of socially engaged art in contemporary China, as well as of the efforts and struggles of the artists and stakeholders involved. ...Wang convincingly argues that art provides a privileged view into these political and aesthetic complexities. Her work provides a valuable opening into a new domain of research on Chinese contemporary art."--CAA Reviews"Meiqin Wang’s monograph is an important publication that sheds light on cultural activism in China and its transformative character, which advances new bottom-up initiatives and creates alternative sites of knowledge production. Overall, this significant publication presents one of the first scholarly treatments of this topic and fills a gap in existing literature on socially engaged art criticism, thus providing a valuable contribution to the field of contemporary Chinese art."--Yishu, Journal of Contemporary Chinese ArtTable of ContentsIntroduction: Voices from Below: the Potential of Art Activism Part I: Social Criticism through Art 1. Art Criticism, Exhibition, and Citizen Politics: Wang Nanming and the Theory of Critical Art 2. Waste, Pollution, and Grassroots Environment Activism: Wang Jiuliang and the Art of Documenting Part II: Place Construction with Art 3. Art, Urban Renewal / Cultural Heritage Conservation, and Grassroots Community Building: Zheng Dazhen and the Maker of Lifestyle 4. Art and Place-Making for the People: Zuo Jing and the Trilogy of Rural Reconstruction Part III: Personal Development in Art 5. From Representation to Collaboration: Wen Fang and Her Poverty Alleviation Art 6. The Nurture Effect: Hu Jianqiang, Wang Jun and Art for Children Conclusion: Art and the Right to Bottom-up Social Changes

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Book SynopsisThis book undertakes a critical reappraisal of Minimalism through an examination of three key painters: Robert Mangold, David Novros, and Jo Baer. By establishing their substantive engagements with Minimalist discourse, as well as their often overlooked artistic exchanges with their sculptor peers, it demonstrates that painting crucially informed the movement's development, serving not only as an object of critique but also as a crucible for its most central tenets. It also poses broader disciplinary implications as it historicizes and challenges Minimalism's death of painting critiques that have been so influential to theories of modernism and postmodernism in the visual arts.Table of ContentsIntroduction; 1. Systemic Painting: A Medium at a Crossroads; 2. Robert Mangold: Minimalist Dialectics; 3. David Novros: Painting in the House of Literalism; 4. Jo Baer: Painting Reframed; Conclusion: Against Endgames

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Book SynopsisMade in Latin America serves as a comprehensive introduction to the history, sociology, and musicology of contemporary Latin American popular music. Each essay, written by a leading scholar of Latin American music, covers the major figures, styles, and social contexts of popular music in Latin America and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music, followed by essays organized into thematic sections: Theoretical Issues; Transnational Scenes; Local and National Scenes; Class, Identity, and Politics; and Gendered Scenes.Trade Review"This book constitutes not only a key contribution to the field of Latin American music studies as a whole, but it also responds directly to the pressing need of making the work of Latin American scholars available to Anglophone readers. As the editors point out, the academic production of a vast portion of Latin American scholars remains unknown in the Anglophone academy. While highlighting the sophisticated ideas of leading authors in the field, the book offers a robust intellectual ground to counterbalance Anglophone readers' ideas about the music and the academic production of the region. This book would be a very useful addition to upper-undergraduate or graduate courses on Latin American music or Latin American music scholarship. It would also be an ideal point of entry for scholars interested in engaging with the field and with their colleagues south of the border. Taken together with other recently published volumes on Latin American scholarship, this book should be celebrated as another important brick for the construction of a bridge between the Latin American and Anglophone academies."— Journal of Folklore ResearchTable of ContentsSeries Foreword. Preface. Introduction: Debating Genre, Class and Identity: Popular Music and Music Scenes from the Latin American World Julio Mendívil and Christian Spencer Espinosa PART I: MUSIC SCENES AND HISTORICAL ISSUES 1. The Carpas Shows in Mexico City (1900-1930): An Ethno-Historical Perspective to a Musical Scene Natalia Bieletto Bueno 2. Nineteenth Century Spanish American Salon in the Light Of Music Scenes Juan Francisco Sans PART II: IMAGINARIES, IDENTITY, AND POLITICS 3. Representing Ayacucho: Music, Politics, Commerce and Identity in an Andean Music Scene in Lima Julio Mendívil 4. Imagining Traditions: Performance and Social Imagination in the Urban Cueca Scene in Santiago de Chile (2000–2010) Christian Spencer Espinosa PART III: CUMBIA, CLASS AND NATION 5. "Cumbia, Nena." Cumbia Scene, Gender and Class in Argentina Pablo Alabarces and Malvina Silba 6. The Ecuadorian Popular Music Scene in Quito: Contesting the National Imaginary Ketty Wong 7. Chicha Music, Urban Subalternity and Cultural Identities in Peru: Construction of the Local and Translocal Scene Arturo Quispe Lázaro PART IV: GLOBAL FLOWS 8. Merengue on the Move: Making Music, Place, and Community in the Típico World Sydney Hutchinson 9. The Geopolitics of Queer Tango: From Buenos Aires to a Community of Translocal Practice María Mercedes Liska 10. Otavalan Transnational Music Making: The Andean Music Scene in Japan Michelle Wibbelsman PART V: BEYOND MUSIC SCENES 11. Voice in Fernando Ortiz: Tools for Rethinking the Notion of Scene Ana M. Ochoa Gautier 12 Epilogue: Reconsidering Music Scenes from a Latin American Perspective Julio Mendívil and Christian Spencer Espinosa AFTERWORD 13. "We live in mixture, and are constantly mixing together our musical expressions." A conversation with Susana Baca, Peruvian singer and former Minister of Culture Julio Mendívil and Christian Spencer Espinosa. List of Contributors

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Book SynopsisExcursions in World Music is a comprehensive introductory textbook to the musics of the world, creating a panoramic experience for students by engaging the many cultures around the globe, and highlighting the sheer diversity to be experienced in the world of music. At the same time, the text illustrates the often profound ways through which a deeper exploration of these many different communities can reveal overlaps, shared horizons, and common concerns in spite of, and because of, this very diversity. The new eighth edition features six brand new chapters, including chapters on Japan, Sub-Saharan Africa, China and Taiwan, Europe, Maritime Southeast Asia, and Indigenous Peoples. General updates have been made to other chapters, replacing visuals and updating charts/statistics. Another major addition to the eighth edition is the publication of a companion Reader, entitled Critical Themes in World Music. Each chapter in the Reader is designed to introduce studTable of ContentsChapter 1: Introduction: Studying Musics of the World's Cultures (Timothy Rommen) / Chapter 2: Music of South Asia (Jim Sykes) / Chapter 3: Music of the Middle East and North Africa (Richard Jankowsky) / Chapter 4: Musics of East Asia I: China and Taiwan (Lei Ouyang) / Chapter 5: Musics of East Asia II: Korea (Joshua D. Pilzer) / Chapter 6: Musics of East Asia III: Japan (Marié Abe) / Chapter 7: Music of Maritime Southeast Asia (Jim Sykes) / Chapter 8: Music of Sub-Saharan Africa (Chérie Rivers Ndaliko) / Chapter 9: Music and Europe (Andrea F. Bohlman) / Chapter 10: Music of Latin America (Timothy Rommen) / Chapter 11: Music of the Caribbean (Timothy Rommen) / Chapter 12: Music of Indigenous North America (Byron Dueck) / Chapter 13: Music of Ethnic North America (Byron Dueck)

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Book SynopsisExplore Disney''s 12 principles of animation, while learning how to animate in Maya. You can develop your own leading digital techniques rooted to traditional workflows. From squash and stretch to timing and appeal, you will enhance your creative toolset with strong classics training and cutting edge techniques. Trusted Maya Authority, Lee Montgomery offers the only artistic guide to applying the principles of traditional animation with Maya''s tools, which are used in production by the best animators and VFX artists today. Add another webpage to your favourites and expand your digital workflow to include the practical resources of the Tradigital Maya with the robust companion web site that include demonstrations, project files, links to further resources, available at www.tradigitalmaya.com.Table of ContentsChapter 1 Arcs – Organic Movement/Natural Motion; Chapter 2 Anticipation – Building the Action; Chapter 3 Animation Editing – Timing & spacing; Chapter 4 Animation Editing – Ease In & Ease Out; Chapter 5 Staging – Framing the action and Setting the Mood; Chapter 6 Follow–Through and Overlapping Action; Chapter 7 Secondary Action – Enhancing the Shot; Chapter 8 Straight Ahead Action and Pose to Pose; Chapter 9 Solid Drawing and Design – Form Meets Function; Chapter 10 Appeal; Chapter 11 Squash and Stretch; Chapter 12 Exaggeration; Chapter 13 Conclusion;

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Book SynopsisIn the second edition of Designer Drafting and Visualization for the Entertainment World, Patricia Woodbridge, a highly experienced art director of feature films and a long time teacher of scenic drafting and set design at the graduate level teams up with nationally-renowned scenic designer and SCAD professor Hal Tine to give you a dynamic glimpse into the world of designing for mainstream entertainment including theatre, film, tv, and corporate events. Drawing on designs from real Hollywood and Broadway blockbusters, this book provides you with the basic tools and principles of scenic drafting and rendering, beginning with pencil drafting and culminating with the latest information on CAD drafting, digital 3D modelling, digital and hand/digital rendering, and digital graphics for sets. Full of examples from all areas of entertainment, this book not only builds on basic principles of designer drafting to give you the most comprehensive knowledge on the subject, but also illumTrade Review"I have been looking for a book that not only focuses on the technical aspects of theater drafting, but also on why we choose to draft the way we do and how it relates to sketchings and renderings. This book covers that ground exceptionally well."-Michael O'Nele, Univ. of Memphis"Very good comprehensive view of drafting applied to all areas of the entertainment industry."-Eric Olson, Samford University"Tells not only what to do, but why. The most complete book on entertainment drafting yet."-Charles E. Williams, University of Toledo"most thorough and best drafting book on the market...the examples in particular are informative.""an excellent reference book to be used during a course...""In Designer Drafting for the Entertainment World, Patricia Woodbridge has created both a thorough primer on designer drafting for all the entertainment industry and a rich inspirational album of the very best of current designer draftings." - Steve Nelson, Dramatics, April 2001"Good scenic design and drafting is expanding even into the virtual worlds and this is a great book to expose a younger draftsperson and aspiring designer to the ever-widening scope of opportunities available to those with scenic design training." - Dramatics, April 2001Table of ContentsPart 1: Principles and Conventions of Scenic Drafting 1 Pencil Drafting Tools 2 Pencils, Paper, and Reproduction 3 Drafted Lines 4 Geometric Construction 5 Scale 6 Hand Lettering 7 Orthographic Projection 8 The Section 9 Dimensioning 10 Labeling, Coding, and Multi-sheet Sets 11 Surveying and Sight Lines 12 Axonometric Views 13 Principles of Perspective Drawing 14 Forced Perspective 15 Period Shapes and Scenic Details 16 Computer Drafting and Illustration Part 2: Professional Applications 17 Sketch Design 18 Theatre Design 19 Television Scenery 20 Feature Film 21 Scenery Graphics 22 Corporate Design 23 Virtual Scenery

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Book SynopsisThis edited volume examines the history of abstract art across Latin America after 1945. This form of art grew in popularity across the Americas in the postwar period, often serving to affirm a sense of being modern and the right of Latin America to assume the leading role Europe had played before World War II. Latin American artists practiced gestural and geometric abstraction, though the history of art has favored the latter. Recent scholarship, for instance, has focused on geometric abstraction from Argentina, Brazil, and Venezuela. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America and the Andes, investigatinghow this style came to stand in for Latin American contemporary art.Trade Review"...contributes to a careful reconsideration of the links between this region and the United States and Europe. ...The compilation successfully accomplishes its main aim to expand outside the borders of Argentina, Uruguay, Brazil, and Venezuela. The essays it includes are interested in areas often disregarded within larger studies of Latin America, such as Costa Rica, Colombia, Bolivia, Peru, and Ecuador. The volume achieves this expansion across a huge range of territories, even exploring how diasporic communities employed abstract art, moving the discussion of Latin American art away from a few cities that dominate scholarship, thus further decentering histories of abstract art."--Latin American Research ReviewTable of ContentsIntroduction [Mariola V. Alvarez and Ana M. Franco] Part I: Gestural Abstractions 1. "Informalism Between Surrealism and Concrete Art. Aldo Pellegrini and the Promotion of Modern Art in Buenos Aires during the 1950s" [María Amalia García] 2."Calligraphic Abstraction and Postwar Brazilian Informalist Painting" [Mariola V. Alvarez] 3. "The Painting Devoured: El Techo de la Ballena and the Destruction of Venezuelan Informalism" [Sean Nesselrode Moncada] Part II: New Visions of Geometric Abstraction 4/ "The Fotoforma Exhibition at MASP, 1951: Geraldo de Barros and the Museum-School" [Heloisa Espada] 5. "Negotiating Afro-Brazilian Abstraction: Rubem Valentim in Rio, Rome, and Dakar, 1957-1966" [Abigail Lapin Dardashti] 6. "Fighting for the Abstract: Manuel de la Cruz González and Geometric Abstraction in Costa Rica" [Lauran Bonilla-Merchav] 7. "Beyond Abstraction: The Work of Vicente Rojo, Kazuya Sakai, and Manuel Felguérez during the 1970s" [Daniel Garza Usabiaga] Part III: Nuestra América: Abstraction between Latin America and the United States 8. "Andean Abstraction as Displayed at the Organization of American States" [Michele Greet] 9. "The Politics of Abstraction in Colombian Art during the Cold War" [Ana M. Franco] 10. "Public ‘Lifescapes’: Gonzalo Fonseca’s Designs for Life and Play (1964-1969)" [María Laura Steverlynck] Part IV: Abstraction and the Avant-garde 11. "From Sacrilegious Black to Chromatic System: The Argentinean Monochrome" [Daniel R. Quiles] 12. "Antagonistic Environments: Gendered Spaces and the Kinetic Installations of Colombian Artists Feliza Bursztyn, Jacqueline Nova, and Julia Acuña" [Gina McDaniel Tarver] 13. "Vontade Construtiva: Latin America’s Geometric Abstract Identity" [Camila Maroja]

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Book SynopsisThis collection provides a transnational, interdisciplinary perspective on artistic responses to war from 1914 to the present, analysing a broad selection of the rich, complex body of work which has emerged in response to conflicts since the Great War. Many of the creators examined here embody the human experience of war: first-hand witnesses who developed a unique visual language in direct response to their role as victim, soldier, refugee, resister, prisoner and embedded or official artist. Contributors address specific issues relating to propaganda, wartime femininity and masculinity, women as war artists, trauma, the role of art in soldiery, memory, art as resistance, identity and the memorialisation of war. Table of ContentsTable of Contents:List of FiguresForewordIntroductionAcknowledgementsList of ContributorsPart 1: Home FrontChapter 1: ‘Picturing’ World War I: German War Bond Posters and the Modern PublicClaire WhitnerChapter 2: ‘Our lovely countryside’. Capturing the Image of Britain at War in Commercial Advertising, 1939–1945David ClampinChapter 3: Picturing War’s Affects on the Home Front during the First World War Catherine SpeckChapter 4: America’s Forgotten Soldier Art: The World War Two Camp ArtPeter HarringtonChapter 5: Official Art of World War II by British Women Artists: Directing the GazeElizabeth de CacquerayPart II: Art, Activism and Resistance Chapter 6: Strategies of Liberation: Jean Dubuffet’s Métro SeriesCaroline PerrettChapter 7: Laughter at warAnna MarkowskaChapter 8: Another Egyptian Revolution: Khayamiya as War ArtSam BowkerChapter 9: Art and Conflict Resolution: Bloody Sunday, Northern IrelandMaebh O’ReganChapter 10: Terms of Engagement: Critical Reflections in Contemporary Canadian War ArtChristine ConleyPart III: Traumatic Memory and VictimhoodChapter 11: Kārlis Padegs’ Red Laugh – the High Song of InsanityJānis Kalnačs Chapter 12: Vietnam: Memory of Desecration in Brian dePalma’s Casualties of WarNanette NorrisChapter 13: The Soldier’s Diary: A Record of Erased TimeAgne NarušytėChapter 14: The Fakhouri File: Traumatic Memory in the work of Walid RaadAnna RådströmChapter 15: Polyrhythmics and Migrating VoicesLeonida KovačPart IV: Collective Memory and CommemorationChapter 16: A Paroxysm of Battle Painting: Adriano de Sousa Lopes and the Great War Carlos SilveiraChapter 17: Let There be No More War: Jack B. Yeats’s Grief in ContextElizabeth AnselChapter 18: Remembering Port-Said 1956: Images of Popular Resistance in Egyptian DocumentariesRania AbdelrahmanChapter 19: Visualising an ‘Orphaned’ Nation: Orphan Photographs of the Korean War in Visual CultureJung Joon LeeChapter 20: A Lost State of Plenitude: Commemorating the Homeland War in Public Spaces in Croatia Sandra Križić Roban

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Book SynopsisThis book fills a significant gap in the critical conversation on race in media by extending interrogations of racial colorblindness in American television to the industrial practices that shape what we see on screen. Specifically, it frames the practice of colorblind casting as a potent lens for examining the interdependence of 21st century post-racial politics and popular culture. Applying a production as culture' approach to a series of casting case studies from American primetime dramatic television, including ABC's Grey's Anatomy and The CW's The Vampire Diaries, Kristen Warner complicates our understanding of the cultural processes that inform casting and expounds the aesthetic and pragmatic industrial viewpoints that perpetuate limiting or downright exclusionary hiring norms. She also examines the material effects of actors of color who knowingly participate in this system and justify their limited roles as a consequence of employment, and finally speTable of ContentsIntroduction 1. Casting as Cultural Production 2. "I’m glad no one was hung up on the race thing": Grey’s Anatomy and the Innovation of Blindcasting in a Post-Racial Era 3. "It’s Tough Being Different": The Pitfalls of Colorblindness in The CW’s The Vampire Diaries 4. Is There Hope? Alternatives to Colorblind Casting Conclusion: Not Quite Catching Shadows

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Book SynopsisThis volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. The essays here explore political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. The book underscores how a discussion of contemporary international horror is not only about genre but about how genre can inform theories of visual cultures and the increasing permeability of their borders. Trade Review'Interdisciplinary in scope, wide-ranging in subject matter, this volume serves as a model for contemporary ways of thinking about horror cinema. Summing Up: Highly recommended' - K J. Wetmore Jr., Loyola Marymount University in CHOICE, Vol. 51 No. 09Table of ContentsIntroduction. Part I: Spectres of History 1.Ghastly Transmissions: The Horror of Connectivity and the Transnational Flow of Fear Brenda S. Gardenour Walter 2. Desire for the Past: The Supernaturalization of Yatsuhaka-mura Chiho Nakagawa 3. High Stakes: The Vampire and the Double in Russian Cinema Greg Dolgopolov. Part II: Trans(gressing) Genre and Media 4. Dark Monarchs: Gothic Landscapes in Contemporary British Culture Stella Hockenhull 5. European Horror Games: Little Red Riding Hood's Zombie BBQ and the European Game Industry Kara Andersen and Karra Shimabukuro. Part III: Genre, History, and Horror 6. Art, Horror, and International Identity in 1970s Exploitation Films Kirsten Strayer 7. Hollywood's Humanity and Ethics Through the Lens of German Filmmakers in the 1930s Martina Witt-Jauch 8. "The Country Bleeds with a Laugh": Social Criticism Meets Horror Genre in José Mojica Marins’s At Midnight I'll Take Your Soul Diana Anselmo-Sequeira. Part IV: Biology and Bodies 9. Doctor de Sade: A Sadean Approach to Representations of Mad Science in Horror Cinema Lindsay Hallam 10. "You Had Me at I'm Dead": Porn, Horror, and the Fragmented Body Eric Shorey and Jen Hyland. Part V: Postcolonial Animals 11. "The Sheep are Revolting": Becoming-Animal in the Postcolonial Zombie Comedy Dana Och 12. Horrors of Anthropocentrism: "Improved Animals" on the Islands of Dr. Moreau Dale Hudson 13. Horror and Counter History: Profondo Carmesi Marcia Landy

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Book SynopsisIn this student-centered book, Debrah C. Sickler-Voigt provides proven tips and innovative methods for teaching, managing, and assessing all aspects of art instruction and student learning in todayâs diversified educational settings, from pre-K through high school. Up-to-date with the current National Visual Arts Standards, this text offers best practices in art education, and explains current theories and assessment models for art instruction.Using examples of studentsâ visually stunning artworks to illustrate what children can achieve through quality art instruction and practical lesson planning, Teaching and Learning in Art Education explores essential and emerging topics such as: managing the classroom in art education; artistic development from early childhood through adolescence; catering towards learners with a diversity of abilities; integrating technology into the art field; and Trade Review ‘This is an interesting, informative and well-structured book … [it] has the potential to enable future and current teachers to connect art with children’s real life, and offer meaningful art learning activities to them.’ - Victoria Pavlou, Frederick University, Cyprus "As comprehensive or maybe more comprehensive than any other art education text I remember. It covers everything from curricular structure to classroom management to unit construction to example activities to national standards, using guiding questions throughout to explore big ideas, within the curriculum structure that encourages choices by students and teachers as a guiding mechanism for teaching and learning in art. [Sickler-Voigt] has gone deeply into the literature of art education and created this book based on sound artistic and educational theory and practice." --Tom Anderson, Professor of Art Education (retired), Florida State University, USA, author of Art for Life Table of Contents1. Teaching and Learning in Art Education: An Overview, 2. The Choice-Based Art Curriculum, 3. Assessment and Evaluation for the Visual Arts, 4. Classroom Management in the Visual Arts, 5. Artistic Development: Early Childhood Through Adolescence, 6. Diversified Learners, 7. Aesthetics: Art's Meaning, 8. Art Criticism: Making Informed Judgments, 9. Art History: Inclusive Approaches, 10. Visual Culture: Wiser Ways of Seeing and Knowing, 11. Drawing, 12. Painting, 13. Paper Arts, Printmaking and Book Arts, 14. Sculpture, 15. Clay and Moasaics, 16. Textiles and Puppets, 17. The Built Environment, 18. Technology: Media Arts, Photography, and Graphics, 19. Arts Advocacy, 20. Making the Most of Your Teaching Career

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Book SynopsisThe Punchdrunk Encyclopaedia is the definitive book on the companyâs work to date, marking eighteen years of Punchdrunkâs existence. It provides the first full-scale, historical account of one of the worldâs foremost immersive theatre companies, drawn from unrivalled access to the collective memory and archives of their core creative team.The playful encyclopaedic format, much like a Punchdrunk masked show, invites readers to create their own journey through the ideas, aesthetics, contexts, and practices that underpin Punchdrunkâs work. Interjections from Felix Barrett, Stephen Dobbie, Maxine Doyle, Peter Higgin, Beatrice Minns, Colin Nightingale and Livi Vaughan, among others, fill out the picture with in-depth reflections.Charting Punchdrunkâs rise from the fringe to the mainstream, this encyclopaedia records the founding principles and mission of the company, documenting its evolving creative process and operational structures. It has been compiled tTable of ContentsAcknowledgementsIntroductionList of abbreviationsList of figures and tablesTimelineENCYCLOPAEDIAPunchdrunk personnelReferences and further readingIndex

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Book SynopsisMax Liebermann: Modern Art and Modern Germany is the first English-language examination of this German impressionist painter whose long life and career spanned nine decades. Through a close reading of key paintings and by a discussion of his many cultural networks across Germany and throughout Europe, this study by Marion Deshmukh illuminates Liebermann's importance as a pioneer of German modernism. Critics and admirers alike saw his art as representing aesthetic European modernism at its best. His subjects included dispassionate depictions of the rural Dutch countryside, his colorful garden at the Wannsee, and his many portraits of Germany's cultural, political, and military elites. Liebermann was the largest collector of French Impressionism in Germany - and his cosmopolitan outlook and his art created strong antipathies towards both by political and cultural conservatives throughout his life.Trade Review"Marion Deshmukh has deftly interwoven a comprehensive study of Liebermann’s life, art, and critical reception within a context of the cultural and political history of Wilhelmine and Weimar Germany. Deshmukh has used Liebermann’s "bourgeois modernism" to reassess the unique and conflicted nature of modernism in Germany. Her book is now the definitive English-language source of information on the painter and will no doubt remain so for years to come." - Marsha Morton, Pratt Institute, USA "At long last, a monograph in English on Max Liebermann, one of Germany’s most important cultural figures of the modern era. Meticulously researched, this study is especially welcome for the way in which it weaves together and illuminates Liebermann’s life, art and times in ways that enormously enrich our understanding of how culture intersected with politics in a period of fraught and conflicting ideologies." - Maria Makela, California College of the Arts, USA"The first biography of Liebermann (1847-1935) in English, this densely written, exhaustuvely researched book is far more than a life of critically important modern German Artist. In writing about Liebermann, Deshmukh (emer., history, George Mason Univ.) looks at critical issue of German history during the first half of the 20th century... Summing Up: High recommended." - J.T. Paoletti, Wesleyan University, CHOICE Reviews "This study succeeds in providing a useful survey of many of the existing approaches to Liebermann's work from within the German literature, including the relevance of his interest in Holland, and his position as an advocate for international Modernism in Germany. At the same time, Deshmukh provides fresh perspectives on some of these interpretations, for example in her exploration of Liebermann's art-world networks and the politicisation of his art. The result is a book of considerable value, for both English-speaking scholars of Liebermann and those less familiar with the artist's work." - Lucy Watling, The Burlington MagazineTable of ContentsTable of Contents to come.

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Book SynopsisMaking Another World Possible offers a broad look at an array of socially engaged cultural practices that have become increasingly visible in the past decade, across diverse fields such as visual art, performance, theater, activism, architecture, urban planning, pedagogy, and ecology.Part I of the book introduces the reader to the field of socially engaged art and cultural practice, spanning the past ten years of dynamism and development. Part II presents a visually striking summary of key events from 1945 to the present, offering an expansive view of socially engaged art throughout history, and Part III offers an overview of the current state of the field, elucidating some of the key issues facing practitioners and communities. Finally, Part IV identifies ten global issues and, in turn, documents 100 key artistic projects from around the world to illustrate the various critical, aesthetic and political modes in which artists, cultural workers, and communities are respTable of ContentsBiographies, List of Contributors, Acknowledgments, Part I: A Precarious Assembly: Ten Years of Art and Activism, Part II: On Arts, Politics, and Engagement: A Selected Timeline 1945 to Present, Part III: Major Issues in the Field of Socially Engaged Art, Part IV: Dialogue: 10 Global Issues, 100 Art Projects, Part V: Epilogue, Part VI: Glossary of Terms, Index

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Book SynopsisThese in-depth, historical, and critical essays study the meaning of ornament, the role it played in the formation of modernism, and its theoretical importance between the mid-nineteenth century and the late twentieth century in England and Germany. Ranging from Owen Jones to Ernst Gombrich through Gottfried Semper, Alois Riegl, August Schmarsow, Wilhelm Worringer, Adolf Loos, Henry van de Velde, and Hermann Muthesius, the contributors show how artistic theories are deeply related to the art practice of their own times, and how ornament is imbued with historical and social meaning.Trade Review"This emphasis on the chronological margins of Modernism should not come as a surprise either, since Modernism and ornament are two notions that are often positioned in diametrically opposed way. The famous, but not always well read or contextualized slogan of Alfred Loos, ‘Ornament is crime’, is the best-known symptom of this antagonism, which the interesting collection edited by art historian Loretta Vandi aims to question. And it does so very successfully, thanks to the rich and sophisticated historical reconstruction and close-reading of many debates, publications, and realizations having to do with ornaments."--Leonardo"[This book] offers an in-depth contribution to the theoretical interpretations of ornament and its role in the development of a crucial period in Western art and architecture. ... While some of the essays provide a deep contextual analysis, others are more focused on the discussion of specific and complex theoretical issues, but all of them share a common concern about the question of the dissociation between non-representational and representation art and the problem of the unity of art."--Journal of Art Historiography"These essays go beyond the question of whether their protagonists were for or against ornament in design and art; rather, they pursue questions of how these figures approached ornament in practice and theory and ask whether ornament was understood as valuable to cultural and artistic development or was regarded as reactionary and a hindrance to social reform. This detailed examination of the discussions and theories regarding ornament leads on to an analysis of the relationship of such debates to the creation of the modernist self-image (or images) of the European bourgeois man."--The Burlington Magazine"...the collection succeeds in tracing a trajectory that encourages a profound reconsideration of the role of ornamental theory in modernist thinking."--Journal of Design HistoryTable of ContentsTable of ContentsList of IllustrationsAcknowledgmentsContributors’s BiographiesIntroduction Chapter OneOwen Jones’s Theory of Ornament Isabelle J. FrankChapter TwoFunction, Fiction, Flux and Silence:Ornamental Theory, Science, and the Modern Search for Aesthetic VolitionDebra K. SchafterChapter ThreeAugust Schmarsow’s Theory of OrnamentChristiane HertelChapter FourThe Veil of Truth?Van de Velde, Muthesius, and the Battle over Ornament in Modern ArchitectureOle W. Fischer Chapter FiveOrnament, Image, and Tension in Ernst Gombrich’s Theory of PerceptionLoretta Vandi & Pavlos Jerenis Bibliography

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Book SynopsisMetal Music Manual shows you the creative and technical processes involved in producing contemporary heavy music for maximum sonic impact. From pre-production to final mastered product, and fundamental concepts to advanced production techniques, this book contains a world of invaluable practical information. Assisted by clear discussion of critical audio principles and theory, and a comprehensive array of illustrations, photos, and screen grabs, Metal Music Manual is the essential guide to achieving professional production standards. The extensive companion website features multi-track recordings, final mixes, processing examples, audio stems, etc., so you can download the relevant content and experiment with the techniques you read about. The website also features video interviews the author conducted with the following acclaimed producers, who share their expertise, experience, and insight into the processes involved:Fredrik Nordström (DimTable of ContentsAcknowledgments Foreword Chapter 1: Introduction Audio Video Interviews Forum Chapter 2: Contemporary Metal Music Chapter 3: The Parameters of Heaviness Distortion Proximity Perceived Loudness The Distortion Paradox Sonic Weight Transients Spectral Dynamics and Transient Brightness Clarity Definition Intelligibility Performance Precision Pre-Production Chapter 4: Pre-Production Vision and Leadership Rehearsals The Budget Click Tracks In Practice Tempo Mapping Click Tones Guide Tracks Click-Free Tracking Live Guide Tracks without a Click Overdubs without a Click The Click Track Acid Test Chapter 5: Sound at Source Drums Drum Shells Shell Thickness, Diameter, Depth and Hardware Symmetry and Flatness Drumheads and Re-Heading Batter Heads Resonant Heads Re-Heading/Bedding-In Drum Tuning Kick Tuning Snare Tuning Toms Tuning Dampening Kick Dampening Snare and Toms Dampening Hats, Ride and Cymbals Bass and Guitar Down-Tuning Baritones/Longer Scale Lengths Guitar Overdrive Pedals Amp/Cab/Mic Simulation and Modelling Amplifiers Bass Amps Guitar Amps Loudspeakers and Loudspeaker Cabinets Engineering Chapter 6: Engineering Overview Isolation=Separation=Control Headroom Printed Compression Printed EQ Chapter 7: Drums Set Up Kick Drums Attack Mic Porthole Placement Low Frequency Capture Isolation Tunnels Double Kick Performance Solutions Kick Building Snare Top Snare Bottom Toms Batter Mic Double Miked Toms Concert Toms Metalwork Hats Ride Cymbals Spaced Pair Close Miked Cymbals Paired Cymbal Miking Room Mics and Controlled Cohesion Triggers Recording Drum Hits from the Kit used for Tracking Sample Creation Drum Edits and Quantization Gridding Phase Retention of Human Feel Micro-Editing Quantization-Based Tools Chapter 8: Guitars D.I.’s and Re-amping Speaker Selection Isolation Tactics Amp Volume Mic Selection Loudspeaker Frequency Radiation Mic Placement Proximity Effect Off-Axis Placement Double Miking Double Tracking (vs. Quad Tracking) Quad Tracking Tonal Variation Multi Amp/Cab Recording for Double-Tracked Guitars Mix Center Rhythm Thickener Chapter 9: Bass D.I. Dirty D.I. (Series) Amp/Cab Distortion Amp/Cab/Mic Isolation, Speaker Selection & Master Volume Mic Selection Mic Placement Double Miking Phase Alignment Emulation Layers (Parallel) Reinforcement Distortion Chapter 10: Vocals Scheduling Coaching, Communication and Comping Engineering Polar Patterns and Gang Vocals Handheld Vocal Recording Vocal Compression Monitoring Headphone-less Vocal Recording Recording Further Instruments Mixing Chapter 11: Edits, Polarity and Phase Alignment, Samples and Gates Edits Mix Groups Polarity and Phase Alignment Drums Phase Alignment Bass Guitars Waveform Edits Multing Drum Samples – Overview Drum Sample Selection Drum Samples Libraries vs. Samples Created from the Kit used for Tracking Kick Sample Selection Snare Sample Selection Tom Sample Selection Sample Implementation Kick Snare Toms Isolation vs. Cohesion Gating Kick and Snare Gating Keyed Gating Toms: Gating vs. Automation vs. Waveform Edits Chapter 12. Balance and Stereo Width Mix Group Component Balance Mix Balance Panning and Stereo Width Mix Center Sides Monitoring and Room Acoustics Monitoring Level Headphone Monitoring Chapter 13: Compression Signal Chain Order Compression Parameters Timbral Coloration and Transient Design Drum Compression Signal Stability Punch Transient Design Attack Settings Release, Threshold, Ratio Make-Up Gain Hats, Ride, and Cymbal Compression Room Mic Compression Parallel Compression Drum Bus Compression Bass Compression Reinforcement Distortion Series Bass Compression Signal Bracketing Parallel Bass Compression Bass Automation Keyed Compression Rhythm Guitar Compression Palm Muted ‘Chug-Thump’ Lead Guitar Compression Vocal Compression Parallel Vocal Compression Sibilance and De-Essing Limiting Chapter 14: EQ Parametric EQ High Pass Filters Sweep EQ Corrective and Surgical EQ Instrument EQ Drums Kick Drum Optimized Kick HPF Cut Settings Kick Weight Low-Mids – Broad Corrective EQ Attack/Click Frequency Bracketing Snare Top/Snare Samples The Baxandall Curve Intelligent EQ Snare Bottom Toms Context and Interdependence Metalwork Room Mics Low Pass Filters Spectral Masking Distributed Creative and Corrective EQ Anti-Masking in Mono Bass The Missing Fundamental Low-End Low-Mids High-Mids Additional Layers Bass Reinforcement Distortion Frequency Bracketing Channel EQ / Group EQ Rhythm Guitar EQ HPF and Low Frequency Emphasis (Cabinet Thump/Sonic Weight) Mids Big Mono vs. Panoramic Width Low highs – Mid Highs Mirrored EQ Dynamic EQ Vocals HPF and Lows to Low Mids Mids Highs Chapter 15: Effects Processing and Automation Reverb Reverb Decay and Pre-Delay Times Drums Decay vs. Level Snare Reverb – Aux Sends Guitars and Bass Vocals Processing the Reverb Return Paths EQ (Reverb Return) Transient Design, Compression, Tape Emulation and Pitch Shifting Reverse Reverb, Special Effects and Automation Delay Processing the Delay Return Paths Pitch Thickening Width Enhancement Distortion Parallel Snare Distortion Megaphone and AM Radio Effect Sine Wave or White Noise Reinforcement Analogue and Tape Emulation Mix Referencing Automation Chapter 16: Master Buss Processing Master Buss Compression Master Buss EQ Master Buss Limiting Summing Mastering Chapter 17: Mastering DIY and the ‘Four Es’ of Mastering Signal Chain Mastering EQ High Pass Filters and Low End Control Low-Mids and Mids Low-End Foundation Upper Mids and High Frequencies Stereo EQ vs. Mid/Side EQ Low-end Localization Reverb Unified Mastering – Bridging the Divide Compression Broadband Compression vs. Multiband Compression Broadband Compression Mid/Side Compression Side Chain Filtering Multiband Compression Two Band Three-Band Four-Band Multiband Parameters Low Band Mid Band High Band Mid/Side Multiband Compression Parallel/Upward Compression Harmonic Enhancement Stereo Width Enhancement Stem Mastering Soft Clipping Limiting Automation Fades Mastered Output Peak Levels - CD Chapter 18: Loudness Normalization Loudness Metering and Mastering Practice A Final Word Index

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Book SynopsisThis book takes a bold look at public art and its populist appeal, offering a more inclusive guide to America's creative tastes and shared culture.Trade Review"Overall, Public Art is a provocative and impressive study of contemporary public art that is ambitious in its pursuit of populist virtues. ... Knight's book is an excellent example of art-historical scholarship." (The Journal of Aesthetics and Art Criticism, January 2010) "[Knight] offers a twenty-first-century definition of public art." (AfterImage, July 2009) "A broad account of public art in the United States, from its history and growth to its current meaning and purpose." (Sculpture Magazine, March 2009) "The thorough bibliography will greatly benefit public art professionals, artists, art historians, and laypersons. Providing a detailed, frank account of public art and viewer agency across the broadest spectrum, Public Art offers insight into works that might be beyond traditional conceptions. By bringing art that is often at the margins to the center, Knight offers fresh ideas on a subject ripe for further discussion. Recommended." (Choice, November 2008) "Cher Krause Knight … focuses on the notion of populist involvement as the yardstick by which to measure public art projects. She touches on well-known moments in the history of public art to illustrate the ways that the public has been variously excluded, humored, harangued, or genuinely integrated into projects. Most interesting are her musings on commercial sites, like Disney’s Magic Kingdom and Las Vegas casinos. In their admittedly pandering capacity for spectacle, she argues, such places include the public in ways that snooty art commissions don't—whatever you say about their aesthetic values." (Public Art Review, Fall 2008)Table of ContentsDedication. Acknowledgements. Preface. 1. Introduction: A Short History of the United States’ “Official” Public Art. Roosevelt’s New Deal. General Services Administration’s Art-in Architecture Program. National Endowment for the Arts’ Art-in-Public-Places Program. 2. Conventional Wisdom: Populist Intentions within Established Paradigms. Art as Monument, Art as Memorial. Art as Amenity. Art in the Park, Art as the Park. Art as the Agora. Art as Pilgrimage. 3. Culture to Go: From Art World to The World. What Museums Do for Us. My Museum. Education, Outreach, Programming. The Alternative Museum/Alternatives to Museums. 4. Not Quite “Art,” Not Quite “Public”: Lessons from the Private Sector. The Art of Entertainment. This is Special, I am Special. Open Pocketbook, Open Agenda?. Embracing Spectacle. 5. Super Viewer: Increasing Individual Agency on the Public Art Front. Power to the People. Claiming Space and Place. Dig In. 6. Conclusion: Art for All?. The Trouble with (Re)Development. Nonprofits and the Ephemeral Idyll. Back to School. Grieving Loss, Remembering Life. Two Tales in One City. Bibliography. Index

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Book SynopsisFocusing on fieldcraft techniques for macro and close-up photography, Thompson covers the vital but often overlooked skills necessary to achieve consistent professional results in the field. Case studies covering a broad and often challenging group of subjects from the seashore to your back garden form the core of the lavishly illustrated book. Biology, life history, subject behaviour and ethics along with best practice approaches are discussed in detail and underpinned with photographic tips. The book is divided into four sectionsDigital Fundamentals, Fieldcraft & Methodology, Portfolio Case Studies, Digital Workflow & Presentationcovering the full photographic process from capture through to editing, captioning, development and storage are discussed. Moving beyond the surface-level approach to macro instruction, this book provides readers with techniques that work in the field. Illustrated with over 250 of the author''s own inspiring images, this publicTrade Review"Every image is accompanied by details of the camera used, lens, focal distance, aperture, and ISO. He reveals natural and artificial lighting techniques, as well as tricks of the trade, learned over years and years of dedicated fieldcraft. The emphasis is very much on ‘art and fieldcraft.’ But the author also emphasizes the importance of ethics in nature photography, something that we as photographers must adhere to at all times. His dedication to capturing his subjects in camera and his incredible knowledge is inspirational. Each page oozes with information that every bona fide nature photographer should know."—Bill Power, FIPF, ARPS, EFIAP/s, EPSA; Fellow of the Irish Photographic Federation"This is both a beautiful and intensely-practical book from a master of his trade, covering everything you could need or want to know in order to improve your close-up photography of butterflies, moths and other wildlife. Set out in four parts, the book covers all the fundamentals of digital photography and kit, fieldcraft and methodology, case studies and a brief section on processing and presenting your images.Lavishly illustrated with Robert Thompson’s superb images, not just of Lepidoptera but a wide range of subject from fungi to fish, this book is a joy to browse as well as a fount of information and hands-on tips."—Richard Fox, Butterfly-Conservation.org"Close-up and Macro Photography focuses on fieldcraft techniques and is divided into four neat sections: Digital Fundamentals, Fieldcraft & Methodology, Portfolio Case Studies and Digital Workflow & Presentation. Each section is generously illustrated with the author’s wonderful images, and the text is full of hard-won knowledge: who knew, for instance, that the pupae of some moths resembles polished wood? Whether you are a keen close-up photographer or a passionate naturalist, this book will satisfy your needs."—Tracy Calder, Amateur Photographer Magazine – March 2018"With Robert Thompson, you have an author and photographer at the top of his game ... This book provides a very good level of knowledge without being inaccessible on the one hand or of being guilty of trivialisation on the other."—Paul Harcourt Davies, learnmacro.com"It doesn’t matter if you are a complete beginner, or an experienced enthusiast, this book sets the benchmark for all future books on close-up and macro photography. If you are a professional photographer, then this book is also of immense value to you. Why? Because it represents a superb example of what us amateurs want from a photography book—full of extremely useful advice set out in a clear and concise manner, together with stunning images throughout that we all want to strive for."—Robert Kent, MacroPhotographyWorld.comTable of ContentsACKNOWLEDGEMENTS INTRODUCTION PART ONE DIGITAL FUNDAMENTALSHAVING A PHOTOGRAPHIC ROADMAP DIGITAL CAMERAS TRIPODS & CAMERA SUPPORT DEVICES EXPOSURE AND METERING MODES UNDERSTANDING ISO APERTURE DEPTH OF FIELD UNDERSTANDING WHITE BALANCE FILE FORMATS MEMORY CARDS HISTOGRAMS LENSES LIGHT UNDERSTANDING FLASH EXTENDED DEPTH OF FIELD BACKGROUNDS CUSTOM-DESIGNED EQUIPMENT PART TWO FIELDCRAFT & METHODOLOGYSETTING UP YOUR CAMERA FOR MACRO COMPOSITION & ORIENTATION IN THE FIELD WIDE-ANGLE MACRO MACRO ON THE MOVE THE OUTDOOR FIELD STUDIO PHOTOGRAPHING FURTHER AFIELD PHOTOGRAPHING IN CHALLENGING CONDITIONS MACRO THROUGH THE SEASONS BEYOND LIFE-SIZE ACCESSORIES FOR MACRO MY FIELD EQUIPMENT FILTERS PART THREE PORTFOLIO CASE STUDIESJEWELS OF THE INSECT WORLD (Dragonflies & Damselflies) MEADOW DANCERS (Butterflies) NATURE’S NOCTURNAL BUTTERFLIES (Moths) LIFE IN THE FOLIAGE (The Larval Phase of Butterflies & Moths) NATURE’S FLORAL GARDEN (Plants) THE KINGDOM OF THE UNDERWORLD (Fungi) LIFE IN FRESHWATER (The Aquatic Environment) LIFE ON THE SHORELINE (Coastal Creatures & Rockpools) PATTERNS ON BARK & STONE (Lichens) NATURE’S GRAND DESIGNS (Patterns & Abstracts)NATURE ON YOUR DOORSTEP (Macro in the Garden) PART FOUR DIGITAL WORKFLOW & PRESENTATIONDIGITAL WORKFLOW & PRESENTATION CONTACT DISPLAYS & PANELS PRESENTING & PUBLISHING YOUR PHOTOGRAPHS ADDITIONAL RESOURCESINDEX

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Book SynopsisThe interaction of our bodies in space is intrinsically linked to the ways in which we design. In spatial design we tend to focus on solely the visual, often treating it as the dominant sense while ignoring the other four senses: touch, sound, smell, taste. While research has been carried out on the perception of multisensorial experiences and design in the last two decades, there is no combined resource on how to address multisensory design in landscape architecture, architecture, urban and environmental design. This is a textbook for design students, professionals, and educators to develop multisensorial literacy. This book is the first of its kind, providing introductions on each of the five senses, along with exercises that demonstrate how to observe, record, and visualize them. It explores current design school pedagogy, and how we might imagine a more mindful way of teaching. The book is a foundational resource for students, professionals, and instructors to understand and ultTable of Contents1. From Visual to Multisensorial Literacy, 2. Multisensorial Design Thinking, 3. Sensewalks, 4. Becoming Multisensorial, 5. Teaching Multisensorial Literacy, 6. Conclusion

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Book SynopsisThis book explores the history and continuing relevance of melancholia as an amorphous but richly suggestive theme in literature, music, and visual culture, as well as philosophy and the history of ideas. Inspired by Albrecht DÃrerâs engraving Melencolia I (1514)âthe first visual representation of artistic melancholyâthis volume brings together contributions by scholars from a variety of disciplines. Topics include: Melencolia I and its reception; how melancholia inhabits landscapes, soundscapes, figures and objects; melancholia in medical and psychological contexts; how melancholia both enables and troubles artistic creation; and Sigmund Freudâs essay Mourning and Melancholia (1917).Table of ContentsIntroduction: The Persistence of Melancholia[Andrea Bubenik]Part I: Resonances of Melencolia I (1514) 1. Temporal Turbulence: In Praise of Anachronism[Mieke Bal]2. Between the Angel and the Dog: Dürer’s Melancholy Community [Drew Daniel]Part II: Objects of Melancholia3. Musical Responses to Dürer’s Melencolia I[Denis Collins]4. The Shape of Things to Come: The Melancholy of Dürer’s Polyhedron[Andrea Bubenik]5. The Eyes, Brain and Heart of the Viewer: Love Melancholy & Renaissance Portraiture[Laurinda Dixon]Part III: Landscapes of Melancholia6. The Melancholic Horizon in Australian Art[Allison Holland]7. Sebald’s ‘Under the Sign of Saturn’ and English Hauntology[Rex Butler]Part IV: Politics and Morals of Melancholia8. Melancholia’s Mirror: Moral Conscience in Australian Art[Sally Butler]9. Against a Melancholic Art History: The Afterlife of Images[Chari Larsson]10. After the End: Melancholia and the Politics of Time[Amelia Barikin]Conclusion: Melancholia: Past, Present, Future?[Michael Ann Holly]

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Book SynopsisThis book is about the digital interface and its use in interactive new media art installations. It examines the aesthetic aspects of the interface through a theoretical exploration of new media artists, who create, and tactically deploy, digital interfaces in their work in order to question the socio-cultural stakes of a technology that shapes and reshapes relationships between humans and non-humans. In this way, it shows how use of the digital interface provides us with a critical framework for understanding our relationship with technology.Table of ContentsIntroduction: Art at the Interface; Chapter 1: The Aesthetic Interface; Chapter 2: The Embodied Interface; Chapter 3; Chapter 4: The Cybernetic Interface; Chapter 5: The Ubiquitous Interface I; Chapter 6: The Ubiquitous Interface II; Chapter 7: The Implanted Interface; Conclusion

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Book SynopsisThis is the first book to focus on Helhesten (The Hell-Horse), an avant-garde artistsâ collective active during the Nazi occupation of Denmark and one of the few tangible connections between radical European art groups from the 1920s to the 1960s. The Danesâ deliberately unskilled painterly abstraction, embrace of the tradition of dansk folkelighed (the popular) and its iterations of egalitarianism and consensus reform, called for the political relevance of art and interrogated the ideologies underlying culture itself. The groupâs cultural activism presents an alternative trajectory of continuity, which challenges the customary view of World War II as a moment of artistic rupture.Trade Review"This work complicates histories of resistance activity under National Socialist occupation both in Denmark and in general through its nuanced reading of the ideology, publishing activities, and exhibition practices of the artists’ collective Helhesten. Dr. Greaves illuminates the group’s brilliant and strategic uses of Danish history, symbolism, and values, as well as the cultural aesthetics of the Nazi occupiers, in their cultural work between 1941 and 1945."--Patricia G. Berman, Wellesley CollegeTable of ContentsIntroduction; 1 Dansk Modernisme Reconsidered; 2 "What about Culture?" Interwar Politics, Art Criticism, and Experimental Art; 3 Helhesten and the War; 4 The New Realism; 5 Spring Is Here: 13 Artists in a Tent; Conclusion: Thank You for Being with Us

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Book SynopsisThis book deals with one of the most important sources of the Stanislavsky System - Yoga, its practice and philosophy. Sergei Tcherkasski carefully collects records on Yoga in Stanislavsky''s writings from different periods and discusses hidden references which are not explained by Stanislavsky himself due to the censorship in his day. Vivid examples of Yoga based training from the rehearsal practice of the Moscow Art Theatre and many of Stanislavsky''s studios (the First Studio in 1910s, the Second Studio and Opera Studio of the Bolshoi Theatre in 1920s, Opera-Dramatic Studio in 1930s) are provided.The focus of Tcherkasski''s research consists of a comparative reading of the Stanislavsky System and Yogi Ramacharaka''s books, which were a main source for Stanislavsky. Accordingly, Tcherkasski analyzes elements of the System based on Yoga principles. Among them are: relaxation of muscles (muscular release), communication and prana, emission of raysTrade ReviewThe final chapter explores the broader correspondences and divergences between the System and core elements of yoga. In this careful study, Tcherkasski makes a strong case for the continuity, rather than the oft-cited break, between old and new Stanislavsky, and illuminates the significance of yoga to modern actor training in and beyond Stanislavsky’s works.Coleman Nye, The Drama Review, Volume 62, Number 3, Fall 2018 Table of Contentsintroduction chapter i yoga in the theatre practice of stanislavsky Stanislavsky’s Acquaintance with Yoga Yoga in the First Studio of the Moscow Art Theatre Yoga in Stanislavsky’s Classes with Actors of the Moscow Art Theatre and the Second Studio in the late 1910s and the 1920s Yoga in the Opera Studio Yoga and the Late Period of Stanislavsky’s Work (1930s) chapter ii yoga in the literary heritage of stanislavsky Yoga of the Twentieth Century and its Ancient Roots A Comparative Reading of Stanislavsky and Ramacharaka chapter iii yoga elements of the stanislavsky system Relaxation of Muscles (Muscular Release) Communication and Prana Attention Visualizations (Mental Images) Superconscious ‘I am’ Conclusion

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Book SynopsisFocusing on the presence of the photographer's gaze as an integral part of constructing meaningful images, Roswell Angier combines theory and practice, to provide you with the technical advice and inspiration you need to develop your skills in portrait photography.Fully updated to take into account advances in creative work and photographic technology, this second edition also includes stunning new visuals and a discussion on the role of social media in the practice of portraiture.Each chapter includes a practical assignment, designed to help you explore various kinds of portrait photography and produce a range of different styles for your creative portfolio.Table of ContentsIntroduction About Looking Self-portrait/No Face People at the Margin: The Edge of the Frame Behavior in the Moment: Picturing Eventfulness You Spy: Voyeurism and Surveillance Portrait, Mirror, Masquerade Confrontation: Looking through the Bull's Eye Out of Focus: The Disappearing Subject Darkness. Flash! Figures in a Landscape: TableauxCommentary: Digital PersonaeAppendices: Camera and Camera ControlsExposure and MeteringUsing Flash. AcknowledgementsCritical Bibliography Index

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Book SynopsisThis book offers a compelling study of contemporary developments in European migration studies and the representation of migration in the arts and cultural institutions. It introduces scholars and students to the new concept of âpostmigrationâ, offering a review of the origin of the concept (in Berlin) and how it has taken on a variety of meanings and works in different ways within different national, cultural and disciplinary contexts. The authors explore postmigrant theory in relation to the visual arts, theater, film and literature as well as the representation of migration and cultural diversity in cultural institutions, offering case studies of postmigrant analyses of contemporary works of art from Europe (mainly Denmark, Germany and Great Britain). Table of ContentsPreface; Part I Postmigration as a Concept (Reception, Histories, Criticism); Introduction: From Artistic Intervention to Academic Discussion (Petersen, Schramm & Wiegand); 1 Academic Reception (Petersen & Schramm); 2 Comparing Histories: The United Kingdom, Germany and Denmark (Petersen & Schramm); 3 Criticism and Perspectives (Petersen, Schramm & Wiegand); Part IIPostmigration as a Perspective (Art, Literature, Film); Introduction: Towards a Postmigrant Frame of Reading (Moslund & Petersen); 4 ‘Say it loud!’ A Postmigrant Perspective on Postcolonial Critique in Contemporary Art (Petersen); 5 Towards a Postmigrant Reading of Literature. An Analysis of Zadie Smith’s NW (Moslund); 6 Struggles for a New concept of Heimat. A Postmigrant Perspective on Fatih Akin’s Soul Kitchen (Post & Schramm); Part III Sites of Negotiation (Identity, Language, Institutions); Introduction: Reinventing identities, languages and institutions (Gebauer, Vitting-Seerup & Wiegand); 7 Identity and Cultural Representations in the Postmigrant Condition (Petersen & Vitting-Seerup); 8 Postmonolingual Struggles and the Poetry of Uljana Wolf (Gebauer); 9 Organizing Postmigration in Cultural Institutions – Diversity Work as Intrusion, Potential or Fact? (Vitting-Seerup & Wiegand); Part IV Envisioning the Future; 10 Postmigration: From Utopian Fantasy to Future Perspectives (Moslund, Schramm & Vitting-Seerup)

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Book SynopsisWhilst Contemporary Worship Music arose out of a desire to relate the music of the church to the music of everyday life, this function can quickly be called into question by the diversity of musical lives present in contemporary society. Mark Porter examines the relationship between individuals' musical lives away from a Contemporary Worship Music environment and their diverse experiences of music within it, presenting important insights into the complex and sometimes contradictory relationships between congregants' musical lives within and outside of religious worship. Through detailed ethnographic investigation Porter challenges common evangelical ideals of musical neutrality, suggesting the importance of considering musical tastes and preferences through an ethical lens. He employs cosmopolitanism as an interpretative framework for understanding the dynamics of diverse musical communities, positioning it as a stronger alternative to common assimilationist and multiculturalist modeTable of ContentsAcknowledgmentsIntroduction – The Quest to Understand Diverse Musical ExperiencesChapter 1: Setting the SceneChapter 2: Music, Attachment, Ethics and CommunityChapter 3: Bridging Worlds Through Common Modes of Being in MusicChapter 4: Boundaries – Communal and Private, Spiritual and SecularChapter 5: At the Edges – Value Transfer, Judgments, DiscontentChapter 6: Alternative Musical SpacesConclusionAppendix A: Morning Service Repertoire List – January 2012 Appendix B: Worship Team Agreement 2013/14BibliographyIndex

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Book SynopsisThe purpose of virtual reality is to make possible a sensorimotor and cognitive activity for a user in a digitally created artificial world. Recent advances in computer technology have led to a new generation of VR devices such as VR headsets. Accordingly, virtual reality poses many new scientific challenges for researchers and professionals. The aim of this book, a manual meant for both designers and users of virtual reality, is to present the current state of knowledge on the use of VR headsets in the most complete way possible. The book is divided into 13 chapters. The objective of the first chapter is to give an introduction to VR and clarify its scope. The next chapter presents a theoretical approach to virtual reality through our Immersion and Interaction methodology also known as 3I model''. Then, a chapter about human senses is necessary to understand the sensorimotor immersion, especially vision. These chapters are followed by several chapters which present the diffeTrade Review"Prof. Philippe Fuchs is a true world-class expert in VR and its relationship with human perception. The recent resurgence of virtual reality by the massive investment of Facebook and Google has created an unprecedented interest in virtual reality in the public imagination especially for HMD based VR. The problem is that this new generation of VR enthusiast do not have a deep knowledge of the impact of VR on human perception. These include nausea, disorientation, and the simulator syndrome where hand-eye coordination can be altered by long exposure to poorly designed VR experience resulting in potential accidents which could lead to liabilities. This is why this book is important as it will review what is known about VR and its influence on human perception and then describes in practical terms how to minimize those effects. Most likely this book will become the must read in this field for anyone who is serious about designing HMD hardware or VR software that are truly compatible with human perception."Dr. Pierre Boulanger, Professor and director of the Advanced Man-Machine Interface Laboratory, University of Alberta, Canada"... It is [...] essential to present, as clearly as possible, VR concepts, to explain the operating principles of [...] new VR headsets and to study their use for understanding both the opportunities and the risks. Unfortunately, there was a missing link between these articles for the general public and communications in journals or at scientific conferences for experts, whether industrial or academic. It is to fill this gap that Philippe Fuchs has decided to write this book. It fully describes the concepts, modes, uses and ways to avoid discomfort and possible faintness. I am betting that this book will meet with success."Pascal Guitton, Professor of Computer Science at the University of Bordeaux, Founding Member and Président of the French National Association of Virtual Reality (2009–2011) and Scientific Director of Inria (2010–2014).Table of ContentsIntroduction to Virtual RealityTheoretical and pragmatic approach for virtual reality Human sensesVisual interfacesVR headsetsInterfaces used with VR headsetsMarketed productsComfort and healthRecommendations and solutionsVR headsets applications: Industrial applications, digital arts, video 360 and researches in cognitive sciences

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Book SynopsisBooks orient, intrigue, provoke and direct the reader while editing, interpreting, encapsulating, constructing and revealing architectural representation. Binding Space: The Book as Spatial Practice explores the role of the book form within the realm of architectural representation. It proposes the book itself as another three-dimensional, complementary architectural representation with a generational and propositional role within the design process. Artists' books in particular that is, a book made as an original work of art, with an artist, designer or architect as author have certain qualities and characteristics, quite different from the conventional presentation and documentation of architecture. Paginal sequentiality, the structure and objecthood of the book, and the act of reading create possibilities for the book as a site for architectural imagining and discourse. In this way, the form of the book affects how the architectural work is conceived, constructed Table of ContentsPart I Field: the scope of the book. 1. Artists’ books: historical context2 Qualities and characteristics of artists’ books3 Architecture and printed media4 Recording time, place and memoryPart II Page: the book as cumulation5 The line within architectural documentation6 Architectural drawing and the pagePart III Volume: the book as vessel7 The objecthood of the book8 The book as folded model9 The temporality of interiorityPart IV Series: the book as sequence10 The reproducibility of drawings / buildings / books11 The book as exhibitionConclusion BibliographyIndex

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Book SynopsisThe Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century.Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production.Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectivesTrade Review"Making a serious contribution to a global art history ... [the book] succeeds in mapping patterns of identity in under-explored geographical areas while augmenting our understanding of the concepts of expressionism and Bauhaus modernism."--Art HistoryTable of ContentsExpressionist Networks, Cultural Debates, and Artistic Practices: A Conceptual Introduction Isabel WünschePart I: Central and Eastern Europe and the Baltic States Prague – Brno: Expressionism in Context Marie Rakušanová Košice Modernism and Anton Jaszusch’s Expressionism Zsófia Kiss-Szemán Expressionism in Hungary: From the Neukunstgruppe to Der Sturm András Zwickl Poznan Expressionism and Its Connections with the German and International Avant-garde Lidia Głuchowska Expressionist Networks in the Russian Empire, Soviet Russia, and the Soviet Union Isabel Wünsche Expressionism in Lithuania: From German Artistic Import to National Art Giedrė Jankevičiūtė and Laima Laučkaitė Expressionist Originality in Latvia: Between Confirmation and Destruction Ginta Gerharde-Upeniece The Ambivalent Affair of Estonian Expressionism Tiina Abel Part II: Scandinavia Expressionism in Denmark: Art and Discourse Torben Jelsbak Expressionisms in Sweden: Anti-realism, Primitivism, and Politics in Painting and Print Margareta Wallin Wictorin Nationalism, Transnationalism, and the Discourses on Expressionism in Finland: From the November Group to Ina Behrsen-Colliander Timo Huusko and Tutta Palin Expressionism in Sámi Art: John Savio’s Woodcuts of the 1920s and 1930s Tuija Hautala-Hirvioja Early Expressionism in Icelandic Art: Jón Stefánsson, Jóhannes Kjarval, and Finnur Jónsson Margrét Elísabet Ólafsdóttir Part III: Western Europe Early Engagements: Peripheral British Responses to German Expressionism Christian Weikop Expressionism in the Netherlands Gert Imanse and Gregor Langfeld Flemish Expressionism in Belgium Cathérine Verleysen Jewish Expressionists in France, 1900-1940 Richard D. Sonn German Expressionism in Italy: Herwarth Walden’s Der Sturm, the Berlin Novembergruppe, and the Modernist Circles of Florence, Turin, and Rome Irene Chytraeus-Auerbach Expressionism and the Spanish Avant-garde between Restoration and Renovation Wiebke Gronemeyer Portuguese Expressionism, or German Expressionism in Portugal? Nina Blum de Almeida Part IV: Southeastern Europe Expressionism in Slovenia: The Aspects of a Term Marko Jenko From Anxiety to Rebellion: Expressionism in Croatian Art Petar Prelog On New Art and its Manifestations: Rethinking Expressionism in Visual Arts in Belgrade Ana Bogdanović Tokens of Identity: Expressionisms in Romania around the First World War Erwin Kessler Expressionism in Bulgaria: Critical Reflections in Art Magazines and the Graphic Arts Irina Genova Part V: Beyond Europe Expressionism in Canada and the United States Oliver A.I. Botar and Herbert R. Hartel, Jr. Expressionism in Latin America and Its Contribution to the Modernist Discourse Maria Frick The Expressionist Roots of South African Modernism Lisa HörstmannSelected BibliographyIndex

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