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Book SynopsisThe 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversations Presenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art. Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20Table of ContentsList of Figures ix About the Editor xiv Notes on Contributors xv Series Editor’s Preface xxiii Acknowledgments xxv Introduction 1André Dombrowski Part I What Was Impressionism? What Is an Impression? Definitions and New Directions 9 1 Impressionism and Criticism 11Marnin Young 2 Rethinking the Origins of Impressionism: The Case of Claude Monet and Corner of a Studio 27Mary-Dailey Desmarais 3 Monet in the 1880s: The Motif in Crisis 43Marc Gotlieb 4 As a Glass Eye: Manet’s Flower Paintings 61Briony Fer 5 Figuring Perception: Monet’s Leap into Plein Air, 1866–1867 75Michael Marrinan 6 Pater, Impressionism, and the Undoing of Sense 93Jeremy Melius 7 The Impressionist Mind: Modern Painting and Nineteenth-Century Readerships 107Ségolène Le Men Part II Painting as Object: Tools, Materials, and Close Looking 127 8 Impression, Improvisation, and Premeditation: New Insights into the Working Methods and Creative Process of Claude Monet 129Gloria Groom and Kimberley Muir 9 Piquer, Plaquer: Cézanne, Pissarro, and Palette-Knife Painting 146Nancy Locke 10 John Singer Sargent’s Lady with a Blue Veil and the Matter of Paint 162Susan Sidlauskas Part III New Visual Media and the Other Arts 181 11 Painting Photographing Ballooning: At the Boulevard des Capucines 183Carol M. Armstrong 12 Series and Screens: Seeing Monet’s Cathedrals through the Lens of the Cinematograph 201Marine Kisiel 13 Critical Impressionism: A Painting by Mary Cassatt and Its Challenge to the Social Rules of Art 219Anne Higonnet 14 James McNeill Whistler: Veiling the Everyday 234Caroline Arscott Part IV Impressionism and Identity 251 15 Cassatt’s Alterity 253Hollis Clayson 16 Bazille, Degas, and Modern Black Paris 271[Excerpt from Posing Modernity: The Black Model from Manet and Matisse to Today, Yale University Press, pp. 70–83, with a new preface. Reprinted with permission from Yale University Press]Denise Murrell 17 Expert Hands, Infectious Touch: Painting and Pregnancy in Morisot’s The Mother and Sister of the Artist 287Mary Hunter 18 Painting the Prototype: The (Homo)Sexuality of Bazille’s Summer Scene 304Jonathan D. Katz, with André Dombrowski Part V Public and Private 323 19 Revival and Risk: Renoir, Fragonard, and the Epistolary Theme 325Nina L. Dubin 20 “The Little Dwarf and the Giant Lady:” At Home with Gustave Caillebotte 343Felix Krämer 21 Renoir, Impressionism, and the Value of Touch 357Martha Lucy 22 Morisot’s Urbane Ecologies 375Alison Syme 23 Incorporating Impressionism: The Société anonyme and the First Impressionist Exhibition in 1874 393André Dombrowski Part VI World Impressionism 415 24 “Plume Mania:” Degas, Feathers, and the Global Millinery Trade 417Simon Kelly 25 Home and Alienation in the Colonies: Auguste Renoir in Algiers, Jean Renoir in India 435Todd Porterfield 26 Impressionism in Japan: The Awakening of the Senses 452Takanori Nagaï 27 Impressionism in Argentina: A Historiographical Discussion 466Laura Malosetti Costa 28 Turkish Impressionism: Interplays of Culture and Form 484Ahu Antmen 29 Impressionism and Naturalism in Germany: The Competing Aesthetic and Ideological Imperatives of a Modern Art 499Alex Potts Part VII Criticism, Displays, and Markets 517 30 Degenerate Art: Impressionism and the Specter of Crisis in French Painting 519Neil McWilliam 31 Impressionism through the Prism of New Methods: A Social and Cartographic Study of Monet’s Address Book 533Félicie Faizand de Maupeou 32 Against the Grain: Gustave Caillebotte and Paul Durand-Ruel’s Impressionism 547Mary Morton 33 Are Museum Curators “Very Special Clients?” Impressionism, the Art Market, and Museums (Paul Durand-Ruel and the Musée du Luxembourg at the Turn of the Twentieth Century) 566Sylvie Patry 34 The Museum of Impressionism, 1947 583Martha Ward Index 601

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Book SynopsisIs Landscape . . . ? surveys multiple and myriad definitions of landscape. Rather than seeking a singular or essential understanding of the term, the collection postulates that landscape might be better read in relation to its cognate terms across expanded disciplinary and professional fields. The publication pursues the potential of multiple provisional working definitions of landscape to both disturb and develop received understandings of landscape architecture. These definitions distinguish between landscape as representational medium, academic discipline, and professional identity. Beginning with an inquiry into the origins of the term itself, Is Landscape . . . .? features essays by a dozen leading voices shaping the contemporary reading of landscape as architecture and beyond.Trade Review"A series of rhetorical questions asked by well- known authors describe the relationship between landscape architecture and its closely related disciplines and other cultural fields." – Peter Zöch, Topos "As richly illustrated and annotated volume, Is Landscape…? is of significant value to students and researchers who wish to dig deeper, and for those leading topical seminars on any of the covered subjects." – Sarah Cowles, Landscape Architecture Magazine"Is Landscape…? Presents both a documentation and projection of Gareth Doherty and Charles Waldheim’s proseminar at the Harvard Graduate School of Design that explores questions of landscape identity." - Karl Kullman, JAE Online Table of ContentsIntroduction: What is landscape? Gareth Doherty and Charles Waldheim, 1. Is landscape architecture? Garrett Eckbo 2. Is landscape literature? Gareth Doherty, 3. Is landscape painting? Vittoria Di Palma, 4. Is landscape photography? Robin Kelsey, 5. Is landscape gardening? Udo Weilacher, 6. Is landscape ecology? Nina-Marie Lister, 7. Is landscape planning? Frederick Steiner, 8. Is landscape urbanism? Charles Waldheim, Is landscape infrastructure? Pierre Bélanger, 9. Is landscape technology? Niall Kirkwood, 10. Is landscape history? John Dixon Hunt, 11. Is landscape theory? Rachael Z. DeLue, 12. Is landscape philosophy? Kathryn Moore, 13. Is landscape life? Catharine Ward Thompson, 14. Is landscape architecture? David Leatherbarrow

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Book SynopsisA continuation of 1994's groundbreaking Cartoons, Giannalberto Bendazzi's Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume I traces the roots and predecessors of modern animation, the history behind Émile Cohl''s Fantasmagorie, and twenty years of silent animated films. Encompassing the formative years of the art form through its Golden Age, this book accounts for animation history through 1950 and Table of ContentsVol 1: FOUNDATIONS BEFORE FANTASMAGORIE THE SILENT PIONEERS SILENT AMERICA 1 SILENT AMERICA 2 SILENT EUROPE SILENT ASIA SILENT LATIN AMERICA SILENT AFRICA SILENT OCEANIA THE GOLDEN AGE AMERICA LAUGHS! EUROPE SOVIET UNION ASIA LATIN AMERICA AFRICA

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Book SynopsisThis book introduces and critically explores walking as an innovative method for doing social research, showing how its sensate and kinaesthetic attributes facilitate connections with lived experiences, journeys and memories, communities and identities. The book situates walking methods historically, sociologically, and in relation to biographical and arts-based research, as well as new work on mobilities, the digital, spatial, and the sensory.The book is organised into three sections: theorising; experiencing; and imagining walking as a new method for doing biographical research. There is a key focus upon the Walking Interview as a Biographical Method (WIBM) on the move to usefully explore migration, memory, and urban landscapes, as part of participatory, visual, and ethnographic research with marginalised communities and artists and as re-formative and transgressive. The book concludes with autobiographical walks taken by the authors and a discussion about the future of theTrade Review“This superb book explores the intersections between walking and ethnography, narrative and biographic methods, visual and participatory methods. The authors’ enthusiasm is infectious and will surely inspire researchers to get walking!” Jennifer Fleetwood, Senior Lecturer in Criminology, Goldsmiths College, UK“Walking Methods is an important contribution to the field of walking studies through a critical new method – the Walking Interview as a Biographical Method (WIBM). The book is comprehensive in scope, detailing the history and current iterations of ‘methods on the move’ across the arts and social sciences. WIBM is significant because it considers how people’s biographies and life stories are shaped through perambulation that takes place through various durations and movements. Rich in examples, exercises, and (auto)biographical reflections this book makes a unique contribution to walking methods.”Stephanie Springgay, Associate Professor, Ontario Institute for Studies in Education, The University of Toronto, Canada“A learned, revealing and absorbing route one guide to the sociology of walking and using the self as a sociological resource. Essential.”Chris Rojek, Professor of Sociology, City University of London, UK“This book is the first complex composition of theoretical and empirical approaches to the different aspects of ‘research on the move’. Deeply inspiring for sociologists, anthropologists, psychologists, and researchers of cultural studies. The high quality pedagogue supports qualitative researchers, especially those working and representing biographical studies.” Prof. Kaja Kaźmierska, Director of the Institute of Sociology, and Chair of the ESA Research Network 3 on Biographical Perspectives on European Societies, University of Lodz, PolandTable of ContentsIntroduction Part I: Theorizing/Observing/Thinking 1. Methods on the Move: Moving Methods 2. Theorizing Walking in the Sociological Imagination – Walking in Context 3. Walking, Art-Making and Biographical Research Exercise One: Walking and Theorizing - Observing/Thinking Part II: Experiencing 4. Migration, Memory and Place - Connecting with Memory and Place in Urban Landscapes 5. Walking as Re-Formative and Transgressive: Health, Pilgrimage, Trespass, Marching 6. Walking in the Downtown Eastside – Experiencing the WIBM as Participatory, Visual and Ethnographic Exercise Two: Walking, Sensing, Experiencing Part III: Imagining 7. Walking, Sex Work, and Community: Towards a Radical Democratic and Imaginative Space for addressing Sexual and Social Inequalities 8. The Phenomenology of Walking in a Garden 9. Walking Artists: Critical Dialogues and Imaginaries 10. Auto/Biographical Encounters in Time and Space – Roots and Routes Exercise Three: Walking and Imagining – Time/Memory/Making Conclusion: The Future of the Walking Interview as a Biographical Method Exercise Four: WIBM Exercise – Observing, Experiencing, Imagining The Walking Interview as a Biographical Method – Principles and Practice: A Framework

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Book SynopsisProduction Design: Visual Design for Film and Television is a hands-on guide to the craft of Production Design and Art Direction. Author Peg McClellan gives an insider's view of the experiences and challenges of working as a Production Designer in film and television.The book covers three major areas, starting with an overview and the basics of job responsibilities, the artistic approach and the background which every Production Designer needs to be familiar with, and progressing to the mechanics of the role with a day-to-day breakdown of the job itself. McClellan takes you through script analysis, team collaborations, the hierarchy of a production, hiring a team, the business elements, locations, studio facilities, handling change, and everything in between.With case studies, insights from successful Production Designers, and inspiration in the form of over 200 colour photos and illustrations from storyboards to sets, this is the ideal book for students seekiTrade Review"Even the top film schools won’t give you the tools of the Production Design trade the way that this in-depth, step-by-step ‘bible' will. From ‘The Look’ to the ‘The Wrap,’ allow a working production designer to be your guide, as you gain insider knowledge usually only earned from years on the set. You’ll carry this book with you from school throughout your career."Ellen M. Harrington, Director, Deutsches Filmmuseum and Filminstitut and Former Director of Exhibitions and Collections, Academy Museum of Motion Pictures"Even the top film schools won’t give you the tools of the Production Design trade the way that this in-depth, step-by-step ‘bible' will. From ‘The Look’ to the ‘The Wrap,’ allow a working production designer to be your guide, as you gain insider knowledge usually only earned from years on the set. You’ll carry this book with you from school throughout your career."Ellen M. Harrington, Director, Deutsches Filmmuseum and Filminstitut and Former Director of Exhibitions and Collections, Academy Museum of Motion PicturesTable of ContentsTHE LANGUAGE OF VISUALS THE BUSINESS OF PRODUCTION DESIGNPRE-PRODUCTIONPITCHING/PRESENTINGDRAWING FOR FILMTHE MAGICAL ART DEPARTMENTSTUDIOS, STAGES AND SET CONSTRUCTIONBACKINGSGRAPHICS/SIGNAGEPROPSSET DECORATING DEPARTMENTLIGHTING/CINEMATOGRAPHY DEPARTMENTWARDROBEMAKE-UP/ SPECIALTY CHARACTER DESIGN/CREATURESSHOOTING SCHEDULEPRODUCTION MEETINGCHANGESSTUDIO FACILITIESBACKLOTSSTRIKENETWORKINGFAQ’SRESOURCESCREDITS

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Book SynopsisThis sixth edition of The Practical Zone System by Chris Johnson updates the classic manual on Ansel Adams''s landmark technique for the digital age. For photographers working digitally or with film, in color or black and white, in the studio or on the go, this simple visual language helps to control contrast and, through a process called Previsualization, provides photographers with the power of free creative expression. This new edition discusses recent advances in technology and potentials for their use in zone photography, including HDR, smartphone cameras that shoot in raw format and smartphone light meters. Johnson demonstrates how the Zone System is a universal visual and conceptual language that dramatically simplifies the problem of creating and rendering complex lighting setups.Table of Contents1. "Will It Come Out?"2. Print Quality, Negative Contrast, and Dynamic Range3. The Control of Negative Contrast4. The Zone5. Exposure6. Development7. An Overview of the Zone System8. Zone System Testing: Method 19. Zone System Testing: Method 210. The Zone System and Digital Photography11. The Zone System and Studio PhotographyAppendix A. Color Management, Profiles, and Color SpacesAppendix B. A Primer on Studio Lighting PhotographyAppendix C. What is a Pixel?Appendix D. Bit DepthAppendix E. Exposure and the Digital Linear EffectAppendix F. Digital Light Meters and the Zone System.Appendix G. A Primer on Basic Film PhotographyAppendix H. Films, Developers, and ProcessingAppendix I. The Practical Zone System Film and Developer Testing MethodAppendix J. Film and Developer Commentary by Iris DavisAppendix K. Alternative Methods for Extreme Expansion and Contraction DevelopmentAppendix L. Contrast Control with Paper GradesAppendix M. Developer DilutionAppendix N. Compensating DevelopersAppendix O. Inspection DevelopmentAppendix P. Condenser and Diffusion EnlargersAppendix Q. ASA/ISO NumbersAppendix R. Filter Factors, the Reciprocity Effect, and Bellows Extension FactorsAppendix S. A Compensation Method for Inaccurate MetersAppendix T. Zone System Metering FormAppendix U. Exposure Record and Checklist for Zone System TestingAppendix V. Examples: Zone System ApplicationsAppendix W. Suggested ReadingAppendix X. A Brief Directory of Online Digital and Photography-Related ResourcesAppendix Y. A Brief Glossary of Zone System and Digital Terminology.

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Book SynopsisThe Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic international movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media.The act of recombining pre-existing material brings up pressing questions of authenticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aesthetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom.Table of ContentsIntroduction Eduardo Navas, Owen Gallagher, xtine burrough Part I: History 1. Remix and the Dialogic Engine of Culture: A Model for Generative Combinatoriality Martin Irvine 2. A Rhetoric of Remix Scott H. Church 3. Toward a Remix Culture: An Existential Perspective Vito Campanelli 4. An Oral History of Sampling: From Turntables to Mashups Kembrew McLeod 5. Can I Borrow Your Proper Name? Remixing Signatures and the Contemporary Author Cicero da Silva 6. The Extended Remix: Rhetoric and history Margie Borschke 7. Culture and Remix: A Theory on Cultural Sublation Eduardo NavasPart II: Aesthetics 8. Remix Strategies in Social Media Lev Manovich 9. Remixing Movies and Trailers Before and After the Digital Age Nicola Maria Dusi 10. Remixing the Plague of Images: Video Art from Latin America in a Transnational Context Erandy Vergara 11. Race & Remix: The Aesthetics of Race in the Visual & Performing Arts Tashima Thomas 12. Digital Poetics and Remix Culture: From the Artisanal Image to the Immaterial Image Monica Tavares 13. The End of an Aura: Nostalgia, Memory, and the Haunting of Hip-hop Roy Christopher 14. Appropriation is Activism Byron RussellPart III: Ethics 15. The Emerging Ethics of Networked Culture Aram Sinnreich 16. The Panopticon of Ethical Video Remix Practice Mette Birk 17. Cutting Scholarship Together/Apart: Rethinking the Political-Economy of Scholarly Book Publishing Janneke Adema 18. Copyright and Fair Use in Remix: From Alarmism to Action Patricia Aufderheide 19. I Thought I Made A Vid, But Then You Told Me That I Didn’t: Aesthetics and Boundary Work in the Fan Vidding Community Katharina Freund 20. Peeling The Layers of the Onion: Authorship in Mashup and Remix Cultures John Logie 21. remixthecontext (a theoretical fiction) Mark AmerikaPart IV: Politics 22. A Capital Remix Rachel O’Dwyer 23. Remix Practices and Activism: A Semiotic Analysis of Creative Dissent Paolo Peverini 24. Political Remix Video as a Vernacular Discourse Olivia Conti 25. Locative Media as Remix Conor McGarrigle 26. The Politics of John Lennon’s "Imagine": Contextualizing the Roles of Mashups and New Media in Political Protest J. Meryl Krieger 27. Détournement as a Premise of the Remix from Political, Aesthetic, and Technical Perspectives Nadine Wanono 28. The New Polymath (Remixing Knowledge) Rachel FalconerPart V: Practice 29. Crises of Meaning in Communities of Creative Appropriation: A Case Study of the 2010 RE/Mixed Media Festival Tom Tenney 30. Of "REAPPROPRIATIONS" Gustavo Romano 31. Aesthetics of Remix: Networked Interactive Objects and Interface Design Jonah Brucker-Cohen 32. Reflections on the Amen Break: A Continued History, an Unsettled Ethics Nate Harrison 33. Going Crazy with Remix: A Classroom Study by Practice via Lenz v. Universal xtine burrough and Dr. Emily Erickson 34. A Remix Artist and Advocate Desiree D’Alessandro 35. Occupy / Band Aid Mashup: "Do They Know It’s Christmas?" Owen Gallagher 36. Remixing the Remix Elisa Kreisinger 37. A Fair(y) Use Tale Eric Faden 38. An Aesthetics of Deception in Political Remix Video Diran Lyons 39. Radical Remix: Manifestoon Jesse Drew 40. In Two Minds Kevin Atherton

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Book SynopsisBetween 1958 and 2002, Luciano Berio wrote fourteen pieces entitled Sequenza, along with several versions of the same work for different instruments, revisions of the original pieces and also the parallel Chemins series, where one of the Sequenzas is used as the basis for a new composition on a larger scale. The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. The Sequenzas have significantly influenced the development of composition for solo instruments and voice, and there is no comparable series of works in the output of any other composer. Series of pieces tend to be linked by the instruments for which Trade Review’... contains much valuable, insightful commentary...’ Studies in Musical Theatre ’...the first serious contribution to the understanding of this very important part of Berio's compositional output....in addition to these specialist essays covering different aspects of confronting Berio's compositions and abounding in examples from the scores, statistical and graphical respresentation of the research results etc., the book offers an extensive bibliography on Berio and his work, listing of the editions of the Sequenza and the Chemins, a discography register and an index. As such, it surely represents a piece of inevitable literature for experts researching both Berio's work, and composition of the 20th century in general.’ International Review of the Sociology and Aesthetics of Music '... a number of musicological fields - solo performance studies, later 20th-century aesthetics, issues of the work-concept - are all the richer for this stimulating volume.' TempoTable of ContentsContents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and Marcílio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.

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Book SynopsisMary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and special effects such as tremolo and harmonics. Part IV introduces four composer profiles that examine peTrade Review'Careful consideration of the intersection of written and unwritten music is of the utmost importance to all musicians, but particularly to those whose chosen repertory was born in years long before audio recordings were possible. French music composed between 1680 and 1760 presents stylistic and aesthetic challenges into which viol players in particular have been given insights by player-composers of the time. Mary Cyr generously shares not only her knowledge as a performer, but also her expertise as a musicologist researching seventeenth- and eighteenth-century music in a rigorous scholarly examination of the bowed strings and their techniques and repertory. This book is essential reading, not only for bowed string instrument players, but for anyone who wishes to perform the glorious music of the French Baroque.' Wendy Gillespie, Professor of Music, Indiana University, USA 'This is a beautifully-written account of string instruments, technique, style and repertoire in France during the Baroque era. Mary Cyr knows her sources intimately and discusses them with a fine musical intelligence. This volume is a welcome addition to the literature on historical performance practice.' Peter Walls, Emeritus Professor of Music, Victoria University of Wellington, New Zealand 'Mary Cyr’s work is a welcome and much needed addition to the gambist’s library... The value of this work is unquestionable, especially for musicians who may be taking their first steps with a baroque string instrument or historical performance practice. More experienced early music performers and musicologists may find this work an eye opener to repertoires or techniques with which they are less familiar.' Viola da Gamba Society Journal 'Cyr's handbook on French style neatly fills a gap in the literature, bringing together a wealth of primary source material in a way that performers will find easy to use... Her organized, lucid approach will pique interest in the topic and inspire the curious readeTable of ContentsPart I Sources and Style in French Baroque Music; Chapter 1 Historical Context, Musical Works, and Performance; Chapter 2 French and Italian Musical Style: The Great Divide; Part II Bowed String Instruments in French Ensembles; Chapter 3 Strings in French Ensembles; Chapter 4 Bass Instruments of the Violin and Viol Families in Solo and Ensemble Roles; Part III Interpretation and Style in French Music for String Players; Chapter 5 Articulation; Chapter 6 Tempo, Character, and Inequality; Chapter 7 Ornamentation and Special Effects; Chapter 8 Basse Continue, Pitch, and Temperament; Part IV Composer Profiles; Chapter 9 Marin Marais: Viol Player, Composer, and Teacher extraordinaire; Chapter 10 Élisabeth Jacquet de La Guerre's Violin Sonatas: What the Sources Do (and Do Not) Tell Us; Chapter 11 Jean-Baptiste Barrière, Virtuoso French Cellist and Composer; Chapter 12 Forqueray's Pieces de viole avec la Basse Continuë: Authorship and Performance Issues;

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Book SynopsisJohn Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of Taverner's complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of Taverner's place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of Taverner's predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listener's point of view, initially Trade Review'... the author not only [has] an excellent understanding of his composer but a remarkable ability to describe what is happening in his music in a way that is as meaningful to the enthusiastic amateur singer as to the professional scholar...Benham can write about music in a way that draws the reader into the sort of detailed description of how the music works that from other hands would be unreadable.' Early Music Review 'This outstanding volume is a welcome addition to the resurgent literature on pre-Reformation English music.' Choice 'Here we have a scholar's book from an eminent scholar... Benham has an easy, readable literary style, and this is a significant and authoritative book...' Church Music Quarterly 'Who better than Hugh Benham [...] to write the latest study of the composer and his music? With a commanding and long standing knowledge of the subject [...] Benham has substantial credentials as an advocate for this repertory... with more than 120 music examples, numerous tables and illustrations, a discography and complete transcriptions of several archival documents by way of appendices, this is evidently a book intended to serve as the definitive text on Taverner for the foreseeable future... Benham largely fulfils his dual brief, communicating an engaging and coherent account of a subject which he knows intimately.' Early Music '... I believe that Hugh Benham has produced a powerful exemplar of the presentist method of harmonic desription. But this is only one of the many fine attributes of this long-awaited book on the most prominent English composer of his time. It has been well worth the wait.' Music and Letters It can be safely said that Hugh Benham has done an excellent job. The present title is likely to stand way ahead of those earlier dissertations and monographs in terms of content, presentation, breadth and depth. This book must now be considered the standard scholarly work on Taverner; it is thoroughly recommended... This book, tTable of ContentsContents: Introduction; The life of John Taverner; The sources of Taverner's music; Some performance issues; Music and worship, with a catalogue of Taverner's work; Taverner's musical background; Taverner's style and technique: Gaude Plurimum; Ave Dei Patris Filia and O Splendor Gloriae; Mater Christi, O Christe Jesu Pastor Bone and the incomplete antiphons; The masses Gloria Tibi Trinitas, Corona Spinea, and O Michael; The masses for five and four voices; Music for the Office; The songs, and Quemadmodum; Conclusion; Appendices; Notes; Bibliography; Discography; Index.

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Book SynopsisModern biotechnologies give us unprecedented control of the fundamental building blocks of life. For designers, across a range of disciplines, emerging fields such as synthetic biology offer the promise of new sustainable materials and structures which may be grown, are self-assembling, self-healing and adaptable to change. While there is a thriving speculative discourse on the future of design in the age of biotechnology, there are few realized design applications.This book, the first in the Bio Design series, acts as a bridge between design speculation and scientific reality and between contemporary design thinking, in areas such as architecture, product design and fashion design, and the traditional engineering approaches which currently dominate biotechnologies. Filled with real examples, Living Construction reveals how living cells construct and transform materials through methods of fabrication and assembly at multiple scales and how designers can utilize these pTrade Review"This inspiring and informative book asks how we might construct material structures using biology. Its author, an architect and qualified synthetic biologist, is uniquely able to combine ambitious design and down-to-bench realism. Constructed around ideas – of life, of design, of fabrication – the book provides an ideal springboard to a biological architecture grounded, not in conceptual fantasies, but on what might really be achieved."Jamie A. Davies, Professor of Experimental Anatomy, University of Edinburgh"Living Construction is a readable synthesis of important principles for the new field of biodesign, written by someone with graduate training in both architecture and synthetic biology. Dade-Robertson clearly knows the details but has the gift of extrapolating these into accurate yet broad generalities. While design and biology each has its disciplinary theories and practices, this book distills sound principles for their intersection in biodesign, offering a very useful contemporary map for practitioners in the arts and sciences. I especially admire his answer to his own question, 'where is the information in biological assembly?', for how it addresses multiple scales simultaneously. This is a key primer for all students in biodesign."Christina Cogdell, Professor, University of California at DavisTable of Contents1. Introduction 2. The designs of the natural 3. The logic of living assembly 4. Fabrication in the living 5. Conclusion: the craft of living construction

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Book SynopsisThis unique survey of the career of Michael Dudok de Wit discusses all of his works and offers a glimpse into his private life. The biography of this European master of 2D animation, born in the Netherlands and based in London, is the first complete overview of the well-defined and canonic opus of this humble genius. Visually and thematically, Dudok de Witâs poetic and singular style of animation differs from the rest of contemporary independent animation production. This book reveals what still challenges and thrills Dudok de Wit in the art of animation and why he persistently continues to believe in the beauty of hand-drawn animation.Key Features The complete animation production of Michael Dudok de Wit, never-before reviewed in one volume An all-embracing approach regarding this auteur, unavailable elsewhere in one place (his biography, his peculiar method of work, his extracurricular activities) An ad hoc glossary of animation written by Michael Dudok de Wit and a critical reception of his body of work with a wide contribution of his colleagues and collaborators Filmography and bibliography AuthorAndrijana RuÅiÄ graduated in History and Criticism of Art at the Universita degli Studi in Milan, Italy, where she fell in love with the medium of animation. She specialised in the History of Animated Film under Giannalberto Bendazziâs mentorship. For the past six years, she has curated the section dedicated to animated films at the International Comics Festival in Belgrade, Serbia. She is a member of the Selection Board of Animafest Scanner, the symposium for Contemporary Animation Studies at the World Festival of Animated Film held annually in Zagreb, Croatia. She writes about animation and art for the Belgrade weekly magazine Vreme.Table of ContentsChapter 1 Biographical Notes 1Chapter 2 Animating Commercials for Advertising Agencies 15Chapter 3 The Monk and the Fish (1994) – The Rise above Dualism 25Chapter 4 Father and Daughter (2002) – Biography of Longing 43Chapter 5 The Aroma of Tea (2006) – A Blissful Experience 75Chapter 6 Coronation of a Dream The Making of The Red Turtle – Michael Dudok de Wit's 10 Year-Long “Exciting Challenge”, set by Studio Ghibli and Completed in Europe 83Chapter 7 Epilogue by Yuri Norstein 117

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Book SynopsisQuestioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate''s History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historical framework, Bradley explores the link between the critical and the creative in the history of Shakespearean adaptation. Focusing on works such as Gordon Bottomley''s King Lear''s Wife (1913), Edward Bond''s Lear (1971), Howard Barker''s Seven Lears (1989), and the Women''s Theatre Group''s Lear''Trade Review'To historicize adaptations of Shakespeare by using character as a bridge (theoretically and pragmatically) between adapted text and adaptation allows Bradley to show well what happens when what she calls the "ironic double gesture" is invoked in order to both use and yet challenge the Bard. The shift from Bardolatry to feminist contestation is presented and enacted here with clarity and a certain brio.' Linda Hutcheon, University of Toronto, Canada '... [Bradley’s] analysis of the distinct variations in twentieth-century adaptations is fascinating... Bradley’s book ultimately becomes a solid defence of the unique value of adaptation as a way to navigate a problematic cultural heritage while evolving within it an expression for our particular cultural moment.' Restoration and Eighteenth-Century Theatre ResearchTable of ContentsContents: Introduction; 'Why this is not Lear': adaptations before the 20th century; 'Other accents borrow': Bottomley, Baring, and a new approach to adaptation; 'Only we shall retain the name': Bond's Lear and Barker's Seven Lears; 'Re-vision' of the kingdom: feminist adaptations of King Lear; Conclusion: 'The promised end'?; Bibliography; Index.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis thoroughly revised third edition of Allan Moore''s ground-breaking book, now co-authored with Remy Martin, incorporates new material on rock music theory, style change and the hermeneutic method developed in Moore's Song Means (2012). An even larger array of musicians is discussed, bringing the book right into the 21st century. Rock''s ''primary text''  its sounds  is the focus of attention here. The authors argue for the development of a musicology particular to rock within the context of the background to the genres, the beat and rhythm and blues styles of the early 1960s, ''progressive'' rock, punk rock, metal and subsequent styles. They also explore the fundamental issue of rock as a medium for self-expression, and the relationship of this to changing musical styles. Rock: The Primary Text remains innovative in its exploration of an aesthetics of rock.Table of Contents1. Issues in theory 2. Elements of an analytic musicology of rock 3. Early rock 4. Progressive styles and issues 5. A profusion of styles 6. Recent rock 7. Meanings

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Book SynopsisAs practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place?Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one's own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right.Finding ways to make the intangible nature of much of our work count' under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area.Please see the companion site to the book, http://wwwTable of ContentsForeword Jane Rendell; Introduction Orley and Hilevaara; Section One: Manifesto (How); I Am for an Art Writing Susannah Thompson; Lyric Theory PA Skantze; Notitia, Trust, and Creative Research Iain Biggs; Writing Without Writing: Conversation as Material Emma Cocker; The Distracted Cyclist G D White; Footnoting Performance Mike Pearson; An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo; Same Difference Nic Conibere; Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin; A Conjuring Act in The Form of an Interview Augusto Corrieri; Yoko Ono Fanfiction owko69 (Owen G. Parry); A Fugue State of Theatre Joe Kelleher; Writing with fungi, contagious Taru Elfving; Middleword One Peter Jaeger; Section Two: Position (Where); The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo; Writing about the Sound of Unicorns Salome Voegelin; Far Stretch – Listening to Sound Happening Ella Finer; Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot; Thirteen Points, Expanded Kristen Kreider and James O’Leary; Returning in the House of Democracy Brigid McLeer; Dancing Architecture: Architect-Walking Cathy Turner; Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith; It Moves: reflections on walking as a practice of writing Mary Paterson; In departures, not departing Tim Etchells; Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode; Elfie und Elsinore (fur Heidi) Hayley Newman; Marking a Life Mitch Rose; Middleword Two Maria Fusco; Section Three: Beside-ness (Whom); Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki; An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner; 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish; Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna; A Series of Continuous Accidents Rajni Shah; The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller; The Path on the Floor and Other Uses of Hand-drawing Karen Christopher; Searching for the ‘bandaged place’ Louise Tondeur; The Catalogue for the Public Library of Private Acts Johanna Linsley; Field Notes from a Choreographic Practice Lucy Cash; K.Bae.Tré Douglas Kearney; Middleword Three Timothy Matthews; Afterword Jane Rendell

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Book Synopsis âWho can turn skies back and begin again?â-PeterThis book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatreâs finest âlostâ plays. Seeking to liberate Britten and Slaterâs work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions: If an opera was created like a play, and can be staged as a play, is it a play? If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play? The answers involve Wagner and W.G. Sebald, George Crabbe and ComplicitÃ, Akenfield and Twin Peaks. Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slaterâs achieTable of Contents1. Grimes on the Beach 2. Opera as Theatre: Why Peter Grimes is a Play 3. The Suffolk Renaissance: Why Peter Grimes is a Great Play

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Book SynopsisThis title was first published in 2002: JÃrg Breu belonged to the generation of German Renaissance artists that included DÃrer, Cranach, GrÃnewald, Altdorfer, and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras, which witnessed the transfer of creative energies from religious painting to secular and applied forms of art. In this wide ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of JÃrg Breu''s art and itsTrade Review’..this book offers a new and promising approach to this period of German art as a whole. It is also a model of clear and balanced exposition, and very engagingly written.’ Caroline van Eck, Vrije Universiteit, Amsterdam. '...offers a fascinating case study.' The Art Newspaper 'Morrall...thrusts us into a tumultuous sixteenth-century Germany, where one ideology is directly confronting another, with powerful implications for the visual arts. Morrall has focused on a fascinating topic...' The New Republic 'One of the lasting strengths of this book is that it provides critical tools for evaluating the choices or rejections of styles without reduction to empty terms of periodization...For Morrall, the prevailing interpretation of the German Renaissance aesthetic of perceptual realism was only one choice among many for an artist like Breu. Morrall demonstrates that Breu tended to "retreat" from perceptual realism and to embrace an artificial and distancing manner that could fit the demands of Reformation -era secular themes and a growing anxiety about idolatry. This interpretation of style as holding rhetorical force will no doubt enrich treatments of other artists of the era, such as Burgkmair and the Holbeins, or even those working outside the scope of the Renaissance.' CAA Reviews 'Morrall's account of Breu's career provides a fascinating case study of artistic production in an age of rapid social and cultural change... this book will [...] be of interest to print specialists... this volume is a welcome addition to existing scholarship on German art of the Renaissance period, a much-neglected field.' Bridget Heal, Print Quarterly 'Andrew Morrall's work on Jörg Breu the Elder of Augsburg (ca. 1480-1536/37) makes many important contributions to the field of Renaissance art History. Morrall skillfully uses the career and production of Breu as a lens through which to focus on vital issues at the hear of art historical interpretation. In order to do this, MoTable of ContentsContents: Introduction: The Artist's Smile; 1: The Artist and His Workshop, c.1498-c.1517; Beginnings: The Austrian altarpieces; Economic background; Work in fresco; Panel painting: style and patronage; The artist as designer; Woodcuts; Designs for sculpture; Designs for glass; The drawings for the Months of the Year; Painters, glaziers and glass-paintings; 2: The Turn Towards Italy; Augsburg and the South; The Aufhausen Madonna; The Prayerbook of Maximilian I; Image and verse; The frescoes for the Augsburg town hall; The organ shutters of the Fugger Chapel in St Anna, Augsburg; The large wings; The trip to Italy; The small organ shutters; Style and dating; 3: Breu and the Reformation;The course of the Reformation in Augsburg; The Reformation and the arts; The Chronicle; Breu's Protestantism: A case study in Reformation piety; Painting in the Reformation; Woodcut illustrations; The soldier as Unrepentant Thief; Garlic, the Jews and 'the sleep of ignorance': St Thomas as exemplar of faith: humanist responses to the Reformation and the origins of the Emblem; the St Ursula alterpiece: iconoclasm and the image question; Breu and Zwinglianism; The Holy Works of Mercy; 4: The Deutsch and the Welsch. Neo-Classicism and its Uses; Conclusion; Appendix. Hand-list of surviving or recorded designs for glass and glass-roundel designs; Index.

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Book SynopsisThe Twenty-First Century Performance Reader combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of Dance, Theatre, Music, Live and Performance Art, and Activism to form an essential sourcebook for students, researchers and practitioners. This is the follow-on text from The Twentieth-Century Performance Reader, which has been the key introductory text to all kinds of performance for over 20 years since it was first published in 1996. Contributions from new and emerging practitioners are placed alongside those of long-established individual artists and companies, representing the work of this century's leading practitioners through the voices of over 140 individuals. The contributors in this volume reflect the diverse and eclectic culture of practices that now make up the expanded field of performance, and their stories, reflections and working processes collectively offer a snapshot of contemporarTable of ContentsAcknowledgementsIn Dialogue...Introduction Action Hero WHAT’S LOVE GOT TO DO WITH IT? GEMMA AND JAMES AND ACTION HERO Mohammad Aghebati INTERVIEW Patricia ArizaINTERVIEW Back to Back Theatre ON MAKING THEATRE Brett Bailey INTERVIEW Dalia Basiouny PERFORMANCE THROUGH THE EGYPTIAN REVOLUTION: STORIES FROM TAHRIR Jérôme Bel INTERVIEW Blast Theory ULRIKE AND EAMON COMPLIANT: ARTISTS’ STATEMENT Tammy Brennan CONFINED: STAGING/IMAGE MOMENTS Tania Bruguera INTERVIEW Builders Association MARIANNE WEEMS IN CONVERSATION WITH ELEANOR BISHOP Liu Chengrui A SELECTION OF ACTIONS Padmini ChetturSOME THOUGHTS FOR THE FUTURE Constantin Chiriac INTERVIEW David Chisholm THE MEMORY OF REMEMBERING: EXOMOLOGESIS AND EXAGOREUSIS IN THE EXPERIMENT Clod Ensemble CLOD ENSEMBLE: PERFORMING MEDICINE María José Contreras THE BODY OF MEMORY: MARIA JOSE CONTRERAS’ PERFORMANCE PRACTICES IN THE CHILEAN TRANSITION Augusto Corriere A CONJURING ACT IN THE FORM OF AN INTERVIEW Tim Crouch INTERVIEW Dah Theatre SOME THOUGHTS ON THE QUALITY OF ATTENTION Tess de Quincey A FUTURE BODY Derevo ENDLESS DEATH SHOW Dood Paard ABOUT US Every House Has A Door FROM ONE MEANING TO ANOTHER Eleonora Fabião THINGS THAT MUST BE DONE SERIES Oliver Frljić INTERVIEW Gecko AN ORGANIC JOURNEY GETINTHEBACKOFTHEVAN MAKING THINGS WORSE Gibson/Martelli THE FIFTH WALL Gob Squad ON PARTICIPATION Heiner Goebbels AESTHETIC OF ABSENCE: HOW IT ALL BEGAN Chris Goode THE CAT TEST Shirotama Hitsujiya INTERVIEW Hotel Pro Forma PERFORMANCE AS AN INVESTIGATION OF THE WORLD Wendy Houstoun SOME BODY AND NO BODY: THE BODY OF A PERFORMER Imitating The Dog THEATRICALISING CINEMA/SCREENING THEATRE Hiwa KINTERVIEW La Fura dels Baus INTERVIEW Lone Twin INTERVIEW Silvia Mercuriali INTERVIEW Monster Truck BUT THE WHORES ALWAYS LOVED ME NeedcompanyINTERVIEW New Art Club HOW WE SET OUT TO MAKE A PIECE ABOUT CONTROVERSIAL WORKS OF ART AND ENDED UP GETTING NAKED AND TALKING ABOUT HOW WE FEEL ABOUT OUR BODIES Kira O’Reilly THE ART OF KIRA O’REILLY Oblivia TIME STOPPER Toshiki Okada INTERVIEW Ontroerend Goed PERSONAL TRILOGY: THE SMILE OFF YOUR FACE, INTERNAL & GAME OF YOU Mike Pearson BUBBLING TOM Michael Pinchbeck THIS IS A LOVE LETTER Punchdrunk INTERVIEW Silviu Purcārete WHERE ARE YOUR TRAINING GROUNDS? Quarantine A SHOW OF HANDS Reckless Sleepers "MIDDLES" & "PHYSICS" Ridiculusmus A CHAT ABOUT COMEDY Rimini Protokoll INTERVIEW Farah Saleh INTERVIEW Peter SellarsINTERVIEW Shunt A PERFORMANCE COLLECTIVE Agata Siniarska DO IT TO ME LIKE IN A REAL MOVIE: LECTURE PERFORMANCE Deepan Sivaraman INTERVIEW Sleepwalk Collective LOST IN THE FUNHOUSE, OR ALL YOU NEED TO MAKE A SHOW IS A GIRL AND A MICROPHONE Andy Smith THIS IS IT: NOTES ON A DEMATERIALISED THEATRE Socìetas Raffaello Sanzio THE THEATRE IS NOT OUR HOME: A CONVERSATION ABOUT SPACE, STAGE AND AUDIENCE Junnosuke TadaINTERVIEW Third AngelTESTING THE HYPOTHESIS Ultima Vez INTERVIEW UnlimitedAM I DEAD YET? Sankar VenkateswaranTHEATRE OF THE MIND Dries VerhoevenINTERVIEW Vincent Dance TheatreTHE ART OF NOT LOOKING BACK / MOTHERLAND Aaron WilliamsonDEMONSTRATING THE WORLD – A PUBLIC INTERVENTION PERFORMANCE Xing XinINTERVIEW Andriy ZholdakTHEORY / LECTURES OF ANDRIY ZHOLDAK Index

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Book SynopsisThis book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of Asian Cinema. It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers styles, including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; spaces, including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private erotic space of films from South Korea and Thailand, and the persistence of the family uTable of ContentsIntroduction Part 1: Styles 1. Kurosawa and Classical Style in Asian Cinema 2. Satyajit Ray and the Indian Sensitivity of Affect 3. The Historical Blockbuster Style 4. The Abstract Transnational Style of Anime 5. Asian Horror and the Ghost-Story Style 6. The ‘Bollywood’ Style Part 2: Spaces 7. Space in Asian Melodrama 8. Iranian Cinema and Inward Space 9. Domestic Space and the Family in South Korean Cinema 10. Erotic Space in Asian Films Part 3: Theory 11. The World and Asian Cinema 12. Asian Cinema and Other Cinemas

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Book SynopsisThe indie game developer's complete guide to running a studio.The climate for the games industry has never been hotter, and this is only set to continue as the marketplace for tablets, consoles and phones grow. Seemingly every day there is a story of how a successful app or game has earned thousands of downloads and revenue. As the market size increases, so does the number of people developing and looking to develop their own app or game to publish. The Indie Game Developer Handbook covers every aspect of running a game development studiofrom the initial creation of the game through to completion, release and beyond. Accessible and complete guide to many aspects of running a game development studio from funding and development through QA, publishing, marketing, and more. Provides a useful knowledge base and help to support the learning process of running an indie development studio in an honest, approachable and easy to understand wTable of ContentsIndie Game Development: The Best Job in the World! Chapter 1: Development Tools and Resources Chapter 2: Self-Publishing Chapter 3: QA, Localizations & Age Ratings Chapter 4: PR & Reaching Out to the Press Chapter 5: Marketing Chapter 6: Advertising Chapter 7: Websites, Forums & Source Control Chapter 8: Funding Chapter 9: Tax, Legal & Other Odds and Ends

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Book SynopsisThis book, first published in 1957, is a collection of Herbert Read's essays on various topics. The essays explore many different subjects and themes, including art, literature, religion and philosophy. This title will be of interest to a variety of readers. Table of Contents1. On Something in Particular 2. The Art of Art Criticism 3. Gauguin: the Return to Symbolism 4. The Inspired Tinker 5. Goethe and Art 6. Naum Gabo 7. Walter Pater 8. The Writer and His Region 9. Max Stirner 10. Frank Lloyd Wright 11. Religion and Culture 12. Michelangelo and Bernini 13. The Limits of Logic 14. Baudelaire as Art Critic 15. The Image in Modern English Poetry 16. De Tocqueville on Art in America 17. Sotto Voce 18. George Lukács 19. The Romantic Revolution 20. The Sustaining Myth 21. On First Reading Nietzsche 22. The Drama and the Theatre 23. Two Notes on a Trilogy 24. C. G. Jung 25. ‘The Prelude’ 26. Barbara Hepworth 27. Susanne Langer 28. Henry Miller 29. ‘De Stijl’ 30. Ezra Pound 31.The Architect as Universal Man 32. Gandhi 33. The Enjoyment of Art 34. D’Arcy Thompson 35. A Seismographic Art 36. Tribal Art and Modern Man 37. Graham Sutherland 38. Kokoschka 39. The Problem of the Zeitgeist 40. The Faith of a Critic; Notes

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Book SynopsisFocusing on fine art and documentary photography, this book provides a racially diverse and culturally inclusive version of photography history and its contemporary manifestations.Whoâs documenting the evolution of photography as it is happening now from an inclusive, transnational perspective? This is the challenge this book aims to address. The collection is the print manifestation of the Dodge and Burn art photography blog actively published from 2007 to 2018, including a selection of 35 interviews with photographers and art professionals from underrepresented communitiesâthose of African, Asian, Latinx/Ã and Native American heritage. It captures fascinating accounts of artists of color and the broad range of their challenges and successes: aspirations, photo series and photobooks, earning a living, discrimination, photography education, photographic practice, socio-political conversations, and more.Decolonization and Diversity in Contemporary Photography is

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Book SynopsisThe remains of ancient Mediterranean art and architecture that have survived over the centuries present the modern viewer with images of white, the color of the stone often used for sculpture. Antiquarian debates and recent scholarship, however, have challenged this aspect of ancient sculpture. There is now a consensus that sculpture produced in the ancient Mediterranean world, as well as art objects in other media, were, in fact, polychromatic. Color has consequently become one of the most important issues in the study of classical art. Jennifer Stager''s landmark book makes a vital contribution to this discussion. Analyzing the dyes, pigments, stones, earth, and metals found in ancient art works, along with the language that writers in antiquity used to describe color, she examines the traces of color in a variety of media. Stager also discusses the significance of a reception history that has emphasized whiteness, revealing how ancient artistic practice and ancient philosophies of cTrade Review'…Seeing Color in Classical Art will be welcomed by the increasingly receptive audience for color and pigment studies in the wider Mediterranean world. I applaud the author for recasting the color debate in new and creative ways and for assembling a group of wonderful images.' Ada Cohen, Professor of Art History and Israel Evans Professor in Oratory and Belles Lettres, Dartmouth College'Seeing Color in Classical Art stands to make a much-needed intervention in the field due to the author's ability to bring the study of material traces of color in Greek art into conversation not only with literary and philosophical models of color perception in antiquity, but also to frame this recovery of ancient color in thought and practice within the complex theoretical, political, and historiographical reception of classicism. This is a high wire act that the book admirably pulls off, thanks to the sophistication of Stager's intellectual approach and her command of the art-historical landscape.' Verity Platt, Department Chair of Classics and Professor of Classics and History of Art, Cornell UniversityTable of Contents1. Material color, language, and khrōma1. Material color, language, and khrōma; 2. Additive colors, kosmēsis, and care; 3. Khōra, relief, landscape; 4. Inlaid eyes, effluences, and vision; 5. Atoms, lithoi, and animacy.

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Book SynopsisChoice Outstanding Academic Title 2023A critical analysis of contemporary art collections and the value form, this book shows why the nonprofit system is unfit to administer our common collections, and offers solutions for diversity reform and redistributive restructuring.In the United States, institutions administered by the nonprofit system have an ambiguous status as they are neither entirely private nor fully public. Among nonprofits, the museum is unique as it is the only institution where trustees tend to collect the same objects they hold in public trust on behalf of the nation, if not humanity. The public serves as alibi for establishing the symbolic value of art, which sustains its monetary value and its markets. This structure allows for wealthy individuals at the helm to gain financial benefits from, and ideological control over, what is at its core purpose a public system. The dramatic growth of the art market and the development of financial tools based on art-collTrade ReviewIs there such a thing as a ‘before’ and ‘after’ in museum scholarship? Nizan Shaked’s Museums and Wealth would be an example. This is a unique, dialectical study of the art museum, the practise of collecting, and the creation of value in art in contemporary capitalism (racial and gendered, as we know it). It is also an acutely critical reflection on why it is so hard for emancipatory politics to change the field, yet it offers hope about how to move forward. And finally, this book is a lesson on methodology, in ways that will make it indispensable to researchers in contemporary art theory, museum studies, curatorial theory and the history of collecting. Shaked exposes ‘philanthrocapitalism’ as a system that privatises in fairly specific ways the social value of art while she builds a nuanced argument on the reproduction of white supremacy in museums. Moving between case studies and the big picture, Museums and Wealth is an extraordinary contribution to the struggle for an egalitarian (art) world. * Angela Dimitrakaki, University of Edinburgh, UK *Finally, a book that does the heavy lifting of querying the obfuscated connection between economic and aesthetic value, addressing a blind spot in the critique of institutions. Shaked gives a solid account of the complicated entwinement of the art market and the exponential growth in the financial sector of first world economies that increasingly rely on debt rather than on actual production. She explains why, over the last thirty years, the art world has become little more than a hedge fund working for the interests of the wealthiest class. The latter development, as she demonstrates, explains the mushroom cloud like quantitative expansion of contemporary art practices in proportion to its concomitant fall and contraction in quality and creative risk. She also traces the social worlds that gather around venal self-interest masquerading as professional “sacrifice for the team.” I cannot recommend this book highly enough for programs in critical curatorial studies. * Jaleh Mansoor, Associate Professor, The University of British Columbia, Canada *This book issues a profound challenge to almost every aspect of the capitalist art world, revealing how many practices that are technically legal are nevertheless contrary to the public good. It offers a radical and specifically-targeted critique, surpassing the usual vague complaints over the commodification of art. It achieves a link between the critique of white supremacy (which has had a profound effect on the art world in recent years) and an economic critique of capitalism that has sometimes, if misguidedly, been opposed to “identity politics.” The defense of a Marxist “totalizing” perspective precisely for the purpose of abolitionist anti-racist work could not be more important in this moment. Although the solutions proposed may seem almost impossibly out of reach at present, so too did the idea of "defunding the police" just a year ago, as the author points out. This book looks beyond incremental reforms to a thorough restructuring of the art/museum world, or rather of society itself, which is indeed what it would take to achieve the seemingly more modest goal of making museums truly serve the public. * Daniel Spaulding, Assistant Professor Of Modern And Contemporary Art, University of Wisconsin – Madison, USA *Table of ContentsAcknowledgments Introduction 1. The San Francisco Museum Of Modern Art And Economic Inequality: Art And Imperialism 2. The Substance Of Symbolic Value: Museums And Private Collecting 3. From Medici To Moma: Collections, Sovereignty And The Private/Public Distinction 4. Blue-Prints For The Future: Demographic And Economic Change Conclusion Bibliography Notes

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Book SynopsisAt a critical point in the development of photography, this book offers an engaging, detailed and far-reaching examination of the key issues that are defining contemporary photographic culture. Photography Reframed addresses the impact of radical technological, social and political change across a diverse set of photographic territories: the ontology of photography; the impact of mass photographic practice; the public display of intimate life; the current state of documentary, and the political possibilities of photographic culture. These lively, accessible essays by some of the best writers in photography together go deep into the most up-to-date frameworks for analysing and understanding photographic culture and shedding light on its histories. Photography Reframed is a vital road map for anyone interested in what photography has been, what it has become, and where it is going.Table of ContentsPhotography Reframed: Always, Already, Again, Ben Burbridge and Annebella PollenSection I. New Ontologies: Photography between the Archive and the Network1. Technology and Interaction: Penelope Umbrico’s TVs from Craigslist, Duncan Wooldridge2. Post-representational Photography, or the Grin of Schrödinger’s Cat, Daniel Rubinstein3. Archival Measures: Photography Collections in a New Media Age, Tina Di Carlo4. The Grain of Ephemera/Event: Thinking Digital Archive through Photography, Sen Uesaki and Jelena Stojkovic5. Tomorrow’s Headlines Are Today’s Fish and Chip Papers: Some Thoughts on ‘Response-ability’ David Campany interviewed by Duncan WooldridgeSection II. Mass Culture and the Politics of Distinction6. Popular Photographic Cultures in Photography Studies, Gil Pasternak7. The Photographer as Reader: The Aspirational Amateur in the Photo-Magazines, Peter Buse8. Mrs Wagner’s Aspirations: The Album as Monument, Martha Langford9. When is a Cliché not a Cliché?: Reconsidering Mass-produced Sunsets, Annebella PollenSection III. (Networked) Society and the Spectacle: Photography and Exhibitionism10. The Shirt Off His Back: Male Torsos on Display in Contemporary Visual Culture, Marvin Heiferman11. The Politics of Amateurism in Online Pornography, Feona Attwood12 What a Body Can Do: From the Frenzy of the Communicative to the Visual Bond, Francis Summers 13. Hating Habermas: On Exhibitionism, Shame and Life on the Actually Existing Internet, Theresa M. Senft14. Paradise Lost: Exhibitionism and the Work of Nan Goldin, Ben BurbridgeSection IV. Documentary Photography and Global Crisis15. The Déjà Vu of September 11: An Essay on Inter-iconicity, Clément Chéroux16. Facing War: Photography and Humanism, Iain Boal and Julian Stallabrass17. War Primers, David Evans18. Immigration Photography in Italy, Andrea Pogliano 19. Landscape Photography’s ‘New Humanism’, Chad EliasSection V. Citizens? Photography, Resistance and Control20. Dead End Streets: Photography, Protest and Social Control, David Hoffman21. Escaping the Panopticon, Pauline Hadaway22 ‘You Don’t Even Represent Us’: Picturing the Moscow Protests, Aglaya Glebova23. Occupy the Image, Liam Devlin24. The Becoming-Photographer in Technoculture, Sarah KemberClosing Reflections, Ronnie Close, Catherine Grant, Sarah E. James and Sandra PlummerAfterword, Charlotte CottonList of IllustrationsAcknowledgementsCreditsContributor BiographiesIndex

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Book SynopsisExamines Jane Austen's engagement with the broad range of artistic practices featured in her work

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Book SynopsisHow does art transform our understanding of realism in the post-truth era?

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Book SynopsisRecurring to the governing idea of her 2005 study Shakespeare on the Edge, Lisa Hopkins expands the parameters of her investigation beyond England to include the Continent, and beyond Shakespeare to include a number of dramatists ranging from Christopher Marlowe to John Ford. Hopkins also expands her notion of liminality to explore not only geographical borders, but also the intersection of the material and the spiritual more generally, tracing the contours of the edge which each inhabits. Making a journey of its own by starting from the most literally liminal of physical structures, walls, and ending with the wholly invisible and intangible, the idea of the divine, this book plots the many and various ways in which, for the Renaissance imagination, metaphysical overtones accrued to the physically liminal.Table of ContentsContents: Introduction; Part I What is an Edge?: Walls: the edge of territory; Peter or Paul? The edge of the state. Part II The Edge of the Nation: Sex on the edge; ’Gate of Spain’: the southern edge of France; ’Pas de Calais’: the northern edge of France. Part III Invisible Edges: The edge of heaven; Jewels and the edge of the skin; The edge of the world. Conclusion; Works cited; Index.

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Book SynopsisThis innovative text recounts the history of photography through a series of thematically structured chapters. Designed and written for students studying photography and its history, each chapter approaches its subject by introducing a range of international, contemporary photographers and then contextualizing their work in historical terms.  The book offers students an accessible route to gain an understanding of the key genres, theories and debates that are fundamental to the study of this rich and complex medium. Individual chapters cover major topics, including: Description and Abstraction Truth and Fiction The Body Landscape War Politics of Representation Form Appropriation Museums The Archive The Cinematic Fashion Photography  Boxed focus studies throughout the text offer short interviews, curatorial statements and reflections by photographers, critics and leading scholars that link photography''s history with its practice. Short chapter sumTrade Review"Global Photography boldly answers the calls to expand and reframe the grand narrative that scholars constructed for photography in the twentieth century. The book broadens the geographic and temporal scope of traditional surveys, integrates multiple voices, and places history into productive dialogue with the present—all while remaining critical of its own choices and cultural biases, and skeptical of any text that claims to represent the whole story of photography." Tanya Sheehan, William R. Kenan Jr. Professor of Art, Colby College"Global Photography boldly answers the calls to expand and reframe the grand narrative that scholars constructed for photography in the twentieth century. The book broadens the geographic and temporal scope of traditional surveys, integrates multiple voices, and places history into productive dialogue with the present—all while remaining critical of its own choices and cultural biases, and skeptical of any text that claims to represent the whole story of photography." Tanya Sheehan, William R. Kenan Jr. Professor of Art, Colby CollegeTable of ContentsI. Realisms 1. Description and Abstraction 2. Truth and Fiction II. Evidence 3. Measuring the Body 4. Mapping the Land III. Ethics 5. Politics of Representation 6. Pictures of War IV. Art Heather Diack 7. Form 8. Appropriation V. Collections 9. Museums 10. Archives Collections VI. Expanded Field 11. Celebrity Style, the Publicity Shot, and the Maverick 12. Photography and the Cinematic

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Book SynopsisThe Making of Visual News sets out to show how photography has changed the way we read, report and sell the news. It investigates how photographs first became news images at the end of the nineteenth century and how magazines in the USA, the UK, France and Germany have put them to use ever since. Drawing on a wide selection of images, author Thierry Gervais (in collaboration with Gaëlle Morel) analyses news photographs in the context of their original presentation in print. Highly illustrated, the book contains 85 full colour magazine layouts and spreads, offering the reader a view of how photographs were and are used in print publications, including Life, Picture Post, the Berliner Illustrirte Zeitung and VU. It examines how photographs were employed to attract new readers throughout the twentieth century, arguing that photography was the main tool by which news editors sought to communicate the news and attract a broader readership. Looking beyond the roles of photographer and journaTrade ReviewRichly illustrated and clearly written, this book firmly and definitively anchors such well-known mid-century photo weekly magazines as LIFE in a much longer history. Photojournalism is meticulously and meaningfully given its vital role in shaping information and communication since the nineteenth century in this excellent survey - Co-Editor of Getting the Picture and The Visual Culture of the News - Vanessa R. SchwartzTable of ContentsIntroduction The invention of the magazine (1843-1918)From a photographThe halftone agePress photographersThe role of the art directorReflections of the warGeneral news magazines: European know-how (1919-1936)Berliner Illustrirte Zeitung before the warThe postwar German press: a competitive marketPropagandist visual strategies A style for news magazinesAn aesthetics of transparencyVU: a photographic workshopNarrating the newsThe Life model and the standardization of news magazines (1936-1976)From idea to actuality: the beginnings of LifeDramatizing the newsFrom the photographic essay to the pictorial essayChallenges to authorityTowards diversificationConclusion

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Book SynopsisThis book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary.

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Book SynopsisThis collection of essays from a range of philosophers and art practitioners offers tools through which we can action change across art and philosophy, across a range of media and across the theory/practice divide.

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