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Book SynopsisA comprehensive history of the creation and growth of Lincoln Center, exploring the interconnections between politicians, financiers, and performing artistsTrade Review“Masterful. . . . A powerful work of nonfiction with the drama of a novel.”—Jaap van Zweden, Wall Street Journal“Written by a scholar, musician and arts executive, Polisi’s superb work is an authoritative yet eminently readable account of the creation and growth of the world’s most important performing arts center.”—Nathan Leventhal, president emeritus, Lincoln Center“Joseph Polisi has written an indispensable and detailed account of Lincoln Center’s complex history, from its iconic Cold War founding to the cultural uncertainties of classical performance in America today.”—Robert Marx, president, Fan Fox & Leslie R. Samuels Foundation“A superb history about one of the world’s most important cultural centers. The narrative is compelling and besides providing a history of the Lincoln Center, is about leaders, leadership styles, and leadership effectiveness.”—Jamal J. Rossi, Eastman School of Music“The public deserves such an eyewitness account as this. Joseph Polisi welcomes readers to a historic glimpse of a noble venture that envisioned the arts as a pillar of democracy. In it we see the courage and frailty of humanity reflected by leaders whose tenacity established Lincoln Center as a ‘beacon to the world.’”—Robert Blocker, Yale University

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Book SynopsisAn engagingly accessible introduction to war, from ancient times to the present and into the futureTrade Review“Jeremy Black’s extraordinary body of work regularly returns to themes in military history. . . . His latest book distills his achievements as the most prolific historian in the English language into 40 short chapters that describe war from the ancient world to the present day. . . . A Short History of War offers an expansive and often evocative account of great causes that are never lost or won.”—Crawford Gribben, Wall Street Journal“This is a feat of remarkable compression and erudition...Studded with thought-provoking comparisons and insights and offers a handy introduction to the subject, and to Black’s oeuvre.”—Jonathan Boff, Spectator “Black has demonstrated an enormous capacity for the length, breadth and depth of global military history which will prompt readers to explore further into campaigns they know little about.”—Major General Sir Evelyn Webb-Carter, Aspects of History“This book should be a ‘must read’ for people entering into a study of military history. It will also be a valuable resource for those who already have some broader knowledge in the field or are already possessed of some expertise. This is a book well worth reading more than once, keeping as a reference, and as a start-point for future study.”—Rob Ellis, Royal United Services Institute of Victoria ‘Jeremy Black has somehow managed to condense a vast and complex subject into a very compact and compelling book. His global range, avoidance of repetition of the standard topics, and ability to capture the variety of warfare in all its forms throughout history is truly remarkable.’—Professor Andrew Roberts, author of Churchill: Walking with Destiny ‘This is an excellent overview of the history of war. Highly recommended reading for anyone who wants to understand the evolution of war around the globe from prehistory to the present day.’—Professor Heather Jones, University College London‘This is a truly global survey which amounts to a miracle of compression. Indispensable for students and scholars alike.’— Professor Gary Sheffield, University of Wolverhampton

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Book SynopsisPlatinotype: Making Photographs in Platinum and Palladium with the Contemporary Printing-out Process describes the mechanisms and chemistry of platinum/palladium printing in safe and practical ways. Clearly presented formulae allow the printer to work with platinum, palladium, or varying combinations of both. The printed-out image appears fully during exposure, and only requires simple and safe steps for clearing to a stable, archival state.The authors explain what makes the image, how all necessary components are prepared and used, and the kind of paper and negative needed to make prints. More than just a technical manual, the book underscores the authors'' belief that printing is a creative, scientific, and philosophic way of working. The book presents an outstanding collection of prints by over 40 artists, all made with this printing-out process. The artists'' notes and comments offer insights into their methods and thinking, and a large number of full-pageTrade Review'Simple formulae and excellent directions guide you through each step in the process. The book will be a valuable resource for a wide readership. More than a technical manual, Platinotype lays out a creative and philosophic practice – revealed from lens to paper.'Meg Partridge, Director, The Imogen Cunningham Trust'Elegantly written and explained for the novice, advanced amateur, or professional alternative process photographer.'Jim Patterson, Photochemist and Experimenter in alternative photography"Simple formulae and excellent directions guide you through each step in the process. The book will be a valuable resource for a wide readership. More than a technical manual, Platinotype lays out a creative and philosophic practice―revealed from lens to paper."Meg Partridge, Director, The Imogen Cunningham Trust"Elegantly written and explained for the novice, advanced amateur, or professional alternative process photographer."Jim Patterson, Photochemist and Experimenter in alternative photographyTable of ContentsForeword by Mike Ware, Preface, Acknowledgements, PART 1, 1. Contexts and Expectations, 2. Chemistry of the Platinum/Palladium Print, 3. Safety, Workspaces, and Procedures, 4. Equipment, Materials, and Chemicals, 5. Preparation of Sensitizer and Processing Solutions, 6. Paper―Its Properties and Choice, 7. Negatives, 8. Making the Print, 9. Archival Processing, Presentation, and Documentation, 10. Looking and Seeing, PART 2 11. Contemporary Practices, Appendix I Troubleshooting, Appendix II Workflow Summaries, Appendix III Glossary, Appendix IV Equipment, Materials and Resources, Appendix V Bibliography and References, Index

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Book SynopsisGriselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art. Crucially, she not only explores a feminist re-reading of the works of canonical male Impressionist and Pre-Raphaelite artists including Edgar Degas and Dante Gabriel Rossetti, but also re-inserts into art history their female contemporaries - women artists such as Berthe Morisot and Mary Cassatt. Pollock discusses the work of women artists such as Mary Kelly and Yve Lomax, highlighting the problems of working in a culture where the feminine is still defined as the object of the male gaze. Now published with a new introduction, Vision and Difference is as powerful as ever for all those seeking not only to understand the history of the feminine in art, but also to develop new strategies for representation for the future.Trade Review'A classic text by one of the great pioneers of feminist criticism and art history' - Linda Nochlin, New York University, USA'A vital text for understnading the polemics of feminist art history, and its methods in practice' - Anthea Callen, University of Nottingham, UKTable of ContentsIntroduction; 1: Feminist interventions in the histories of artChapter 2 Vision, voice and power: feminist art histories and MarxismChapter 3 Modernity and the spaces of femininityChapter 4 Woman as a sign in pre-Raphaelite literature: the representation of Elisabeth Siddall (written in collaboration with Deborah Cherry)Chapter 5: A Photo-essay - signs of femininityChapter 6: Woman as sign: psychoanalytic readingsChapter 7: Screening the seventies: sexuality and representation in feminist practice - a Brechtian perspectiveNotesBibliographyIndex

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Book SynopsisNow in its second edition, this volume is an accessible introduction to the history of art. Using an international range of examples, it provides the reader with a toolkit of concepts, ideas and methods relevant to understanding art history. This new edition is fully updated with colour illustrations, increased coverage of non-western art and extended discussions of contemporary art theory. It introduces key ideas, issues and debates, exploring questions such as: What is art and what is meant by art history? What approaches and methodologies are used to interpret and evaluate art? How have ideas regarding medium, gender, identity and difference informed representation? What perspectives can psychoanalysis, semiotics and social art histories bring to the study of the discipline? How are the processes of postcolonialism, decolonisation and globalisation changing approaches to art historTrade ReviewThe second edition of Art History: The Basics continues the authors’ investments in making art history accessible to a variety of 21st-century readers. Clear and cogent, it reconsiders who and what "the basics" of art history are by freshening up the canon of intellectual debates, methodologies, and interpretations that form art history’s discourse in the west and incorporating more recent and urgent conversations about gender, sexual orientation, de-colonialization, and "otherness" that continue to impact the discipline in radical and transformative ways. Predicating a text on a transformative model, as Newall and Pooke have done, reminds readers that art history is an inherently living discourse demanding new revisions as it adheres to new and changing contexts now and into the future. Jordan Amirkhani, Professorial Lecturer in Modern and Contemporary Art History, American University, Washington, DC Few art history textbooks today address so comprehensively the underlying issues and histories of art history the way this book does. Without a doubt, this book is the new companion of every serious art history professor and instructor. May F. El-Hage, art historian and curator, Beirut, Lebanon The second edition of Art History: The Basics continues the authors’ investments in making art history accessible to a variety of 21st-century readers. Clear and cogent, it reconsiders who and what "the basics" of art history are by freshening up the canon of intellectual debates, methodologies, and interpretations that form art history’s discourse in the west and incorporating more recent and urgent conversations about gender, sexual orientation, de-colonialization, and "otherness" that continue to impact the discipline in radical and transformative ways. Predicating a text on a transformative model, as Newall and Pooke have done, reminds readers that art history is an inherently living discourse demanding new revisions as it adheres to new and changing contexts now and into the future. Jordan Amirkhani, Professorial Lecturer in Modern and Contemporary Art History, American University, Washington, DC Few art history textbooks today address so comprehensively the underlying issues and histories of art history the way this book does. Without a doubt, this book is the new companion of every serious art history professor and instructor. May F. El-Hage, art historian and curator, Beirut, Lebanon Art History: The Basics is a highly practical source book for students and scholars, which ambitiously attempts to answer the question: 'What is art history?'. Covering a broad spectrum of key philosophical debates, it is nevertheless written in clear, accessible language. The subject is refreshingly presented as evolving and dynamic and the new edition includes sections on urgent contemporary issues such as the Black Lives Matter movement and recent global perspectives. This is a welcome addition to the bookshelf for students, art historians and general readers. Katie Hill, Programme Director, MA Modern and Contemporary Asian Art, Sotheby's Institute of Art Newall and Pooke completed the second edition of Art History: The Basics in the middle of the global outbreak of the pandemic. In such a daunting and critical moment, this book first and foremost addresses two urgent questions: What is the relevance of art to the evolution of our civilization? How has art history been shaped by the turbulent events in human society? At a time when the history is being rewritten, Newall and Pooke’s book reinforces the necessity, more than ever, of understanding that art, as a form of expression, enables us to explore new ways of perceiving the world, and that artists, as creators, shaped and advanced art history: so it expands and continues. Kejia Wu, Faculty Member, Claremont Graduate University; Columnist, the Chinese Edition of the Financial Times. The new and revised edition of Newall and Pooke’s textbook not only introduces the reader to what actually constitutes the history of art, but also shows how the discipline has developed and changed through critical interventions into the subject from the social history of art through to postcolonialism. As such, it is essential reading for students studying the history of art or anyone else with an interest in the subject. Warren Carter, Lecturer in Art History, The Open University, UK Table of ContentsIntroduction to the second edition ; 1. Art histories and art theories ; 2. Formalism, modernism and modernity ; 3. Marxist and social art histories ; 4. Semiotics and poststructuralism ; 5. Psychoanalysis, art and the fractured self ; 6. Representations of gender, sex and sexualities ; 7. Art and art histories since the 1960s ; 8. Postcolonialism, globalisation and art histories

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Book SynopsisFascinating essays Nochlin is a woman of learning and accomplishment' Andrea DworkinTrade Review'Fascinating … Nochlin is a woman of learning and accomplishment' - Andrea Dworkin'A joy to read … blunt, funny, mischievous, learned, anything but dull and dogmatic' - London Review of Books'Outstanding … rich and methodologically sophisticated' - Art in America'Invaluable' - Art Journal'If you care about the representation of women, you need to read this … Nochlin’s direct, provocative and personal tone is a radical rewriting of women in art history' - ElephantTable of ContentsIntroduction: Memoirs of an Ad Hoc Art Historian • 1. The Myth of the Woman Warrior • 2. Géricault: The Absence of Women • 3. The Image of the Working Woman • 4. Courbet’s Real Allegory: Rereading The Painter’s Studio • 5. A House Is Not a Home: Degas and the Subversion of the Family • 6. Mary Cassatt’s Modernity • 7. Body Politics: Seurat’s Poseuses

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Book SynopsisA new way of appreciating art that puts the artwork front and centre, brought to us by one of the freshest and most exciting voices in cultural criticism. What makes great art great? Why do some works pulse in the imagination, generation after generation, century after century? From Botticelli's Birth of Venus to Picasso's Guernica, some paintings and sculptures have become so famous, so much a part of who we are, that we no longer really look at them. We take their greatness for granted; our eyes have become near-obsolete. We need a new way of seeing. Unsatisfied with traditional interpretations of masterpieces, which are so often interested only in learning about art, and not from it, Kelly Grovier combed the surface of revered works from the Terracotta Army to Frida Kahlo's self-portraits, in a quest to find the key to their lasting power to move and delight us. He discovered that every truly great work is hardwired with an underappreciated detail that ignites it from deTrade Review'Finally, a book that asks, with a restless and sensitive eye, what it is that makes masterpieces sing across the centuries. A highly enjoyable history of art that is also a fascinating meditation on excellence' - Jonathan Jones, art critic'Grovier makes the case for the endless depths of interpretative potential in any great work of art. There is, indeed, always more to see' - Times Literary SupplementTable of ContentsIntroduction: A Touch of Strangeness Ashurbanipal Hunting Lions (c. 645–635 BC) Parthenon Sculptures (c. 444 BC) Terracotta Army of the First Qin Emperor (c. 210 BC) Villa of the Mysteries murals (c. 60–50 BC) Laocoön and his Sons (c. 27 BC–AD 68) Trajan’s Column (AD 113), Apollodorus of Damascus The Book of Kells (c. AD 800) Travellers among Mountains and Streams (c. 1000), Fan K’uan Bayeux Tapestry (c. 1077 or after) The Universal Man (c. 1165), Hildegard of Bingen The Expulsion from the Garden of Eden (c. 1427), Masaccio Ghent Altarpiece (1430–32), Jan van Eyck The Descent from the Cross (1430–32), Rogier van der Weyden The Annunciation (c. 1438–47), Fra Angelico The Lamentation over the Dead Christ (c. 1480), Andrea Mantegna The Birth of Venus (c. 1482–85), Sandro Botticelli Mona Lisa (c. 1503–6), Leonardo da Vinci The Garden of Earthly Delights (1505–10), Hieronymus Bosch Sistine Chapel ceiling frescoes (1508–12), Michelangelo The School of Athens (1510–11), Raphael Isenheim Altarpiece (1512–16), Matthias Grünewald Bacchus and Ariadne (1520–23), Titian Self-Portrait (1548), Catharina van Hemessen Crucifixion (1565–87), Tintoretto The Supper at Emmaus (1601), Caravaggio The Ecstasy of St Teresa (1647–52), Gian Lorenzo Bernini Las Meninas (1656), Diego Velázquez Girl with a Pearl Earring (c. 1665), Johannes Vermeer Self-Portrait with Two Circles (c. 1665–69), Rembrandt van Rijn An Experiment on a Bird in the Air Pump (1768), Joseph Wright of Derby The Nightmare (1781), Henry Fuseli The Third of May 1808 (1814), Francisco Goya The Hay Wain (1821), John Constable Rain, Steam, and Speed - The Great Western Railway (1844), J. M. W. Turner Arrangement in Grey and Black No. 1 (Portrait of the Artist’s Mother) (1871), James Abbott McNeill Whistler The Thinker (1880–1904), Auguste Rodin A Bar at the Folies-Bergère (1882), Édouard Manet Bathers at Asnières (1884), Georges Seurat The Scream (1893), Edvard Munch The Large Bathers (1900–6), Paul Cézanne Group IV, No. 7, Adulthood (1907), Hilma af Klint The Kiss (1907), Gustav Klimt Dance (1909–10), Henri Matisse Water Lilies (1914–26), Claude Monet Fountain (1917), Marcel Duchamp American Gothic (1930), Grant Wood The Persistence of Memory (1931), Salvador Dalí Guernica (1937), Pablo Picasso L’Égypte de Mlle Cléo de Mérode: cours élémentaire d’histoire naturelle (1940), Joseph Cornell Self-Portrait with Thorn Necklace and Hummingbird (1940), Frida Kahlo One: Number 31 (1950), Jackson Pollock Study after Velázquez’s Portrait of Pope Innocent X (1953), Francis Bacon Brillo Boxes (1964), Andy Warhol Backs and Fronts (1981), Sean Scully Betty (1988), Gerhard Richter Maman (1999), Louise Bourgeois The Artist is Present (2010), Marina Abramovic Sources and Further Reading Acknowledgments Picture Credits Index

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Book SynopsisThe Iranian Expanseexplores how kings in Persia and the ancient Iranian world utilized the built and natural environment to form and contest Iranian cultural memory, royal identity, and sacred cosmologies. Investigating over a thousand years of history, from the Achaemenid period to the arrival of Islam, The Iranian Expanse argues that Iranian identities were built and shaped not by royal discourse alone, but by strategic changes to Western Asia's cities, sanctuaries, palaces, and landscapes. The Iranian Expanse critically examines the construction of a new Iranian royal identity and empire, which subsumed and subordinated all previous traditions, including those of Mesopotamia, Egypt, and Anatolia. It then delves into the startling innovations that emerged after Alexander under the Seleucids, Arsacids, Kushans, Sasanians, and the Perso-Macedonian dynasties of Anatolia and the Caucasus, a previously understudied and misunderstood period. Matthew P. Canepa elucidates the many ruptures and renovations that produced a new royal culture that deeply influenced not only early Islam, but also the wider Persianate world of the Il-Khans, Safavids, Timurids, Ottomans, and Mughals.

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Book Synopsis* New edition of this popular anthology of twentieth-century art-theoretical texts. * Now updated to include the results of new research, together with significant contributions from the 1990s. * Includes writings by critics, philosophers, politicians and literary figures.Trade Review"Occasionally one comes across a book that is at once compelling and frightening, a book that excites and disorientates, a book with intimations of the sublime. Art in Theory is such a book. An indispensable source book." (Arlis News-Sheet)Table of ContentsPreface and Acknowledgements. A Note on the Presentation and Editing of Texts. General Introduction. Part I: The Legacy of Symbolism. Introduction. 1. Classicism and Originality. Paul Signac: from Eugène Delacroix to Neo-Impressionism 1899. Paul Gauguin: letter to Fontainas 1899. Sigmund Freud: from 'On Dreams' 1901. Otto Weininger: from Sex and Character 1903. Max Liebermann: 'Imagination in Painting' 1904. Paul Cézanne: letters to Emile Bernard 1904-06. Rainer Maria Rilke: from Letters on Cézanne 1907. Maurice Denis (intro. Roger Fry): 'Cézanne' 1907. Maurice Denis: 'From Gauguin and Van Gogh to Neo-Classicism' 1909. Julius Meier-Graefe: 'The Mediums of Art, Past and Present' 1904. Giorgio de Chirico: 'Mystery and Creation' 1913. 2. Expression and the Primitive. August Endell: 'The Beauty of Form and Decorative Art' 1897-98. Albert Pinkham Ryder: 'Paragraphs from the Studio of a Recluse' 1905. André Derain: letters to Vlaminck c.1905-1909. Ernst Ludwig Kirchner: programme of Die Brücke 1906. Wilhelm Worringer: from Abstraction and Empathy 1908. Henri Matisse: 'Notes of a Painter' 1908. Roger Fry: 'An Essay in Aesthetics' 1909. Wassily Kandinsky: from Concerning the Spiritual in Art 1911. Wassily Kandinsky: The Cologne Lecture 1914. Franz Marc: 'The "Savages" of Germany' and 'Two Pictures' 1912. August Macke: 'Masks' 1912. Emil Nolde: 'On Primitive Art' 1912. Oscar Kokoschka: 'On the Nature of Visions' 1912. Alexander Shevchenko: 'Neo-Primitivism' 1913. Benedetto Croce: 'What is Art?' 1913. Clive Bell: 'The Aesthetic Hypothesis' 1914. Carl Einstein: 'Negro Sculpture' 1915. Hermann Bahr: from Expressionism 1916. Hans Prinzhorn: from Artistry of the Mentally Ill 1922. Part II: The Idea of the Modern World. Introduction. 3. Modernity. Georg Simmel: 'Metropolis and Mental Life' 1902-3. Max Weber: 'Asceticism and the Spirit of Capitalism' 1904-05. Vladimir Ilyich Lenin: 'Party Organization and Party Literature' 1905. Henri Bergson: from Creative Evolution 1907. Alexander Blok: 'Nature and Culture' 1908. Filippo Tommaso Marinetti: 'The Foundation and Manifesto of Futurism' 1909. Umberto Boccioni et al: 'Futurist Painting: Technical Manifesto' 1910. Robert Delaunay: 'On the Construction of Reality in Pure Painting' 1912. Georgy Valentinovich Plekhanov: from Art and Social Life 1912. Franz Marc: 'Foreword' 1914. Fernand Léger: 'Contemporary Achievements in Painting' 1914. Percy Wyndham Lewis: 'Our Vortex' 1914. Henri Gaudier-Brzeska: 'Gaudier-Brzeska Vortex' 1914, and 'Vortex Gaudier-Brzeska' 1915. Ludwig Meidner: 'Instructions for Painting Pictures of the Metropolis' 1914. Karl Kraus: from 'In These Great Times' 1914. Kasimir Malevich: From Cubism and Futurism to Suprematism: The New Realism in Painting 1915-16. 4. Cubism. Jean Metzinger: 'Note on Painting' 1910. Guillaume Apollinaire: 'The Cubists' 1911. Guillaume Apollinaire: 'On the Subject in Modern Painting' 1912. Guillaume Apollinaire: 'The New Painting: Art Notes' 1912. Guillaume Apollinaire: from The Cubist Painters 1912. Jacques Rivière: 'Present Tendencies in Painting' 1912. Albert Gleizes and Jean Metzinger: from Cubism 1912. Fernand Léger: 'The Origins of Painting and its Representational Value' 1913. Olga Rozanova: 'The Bases of the New Creation' 1913. Daniel-Henry Kahnweiler: from The Rise of Cubism 1916-20. Georges Braque: 'Thoughts on Painting' 1917. Pablo Picasso: 'Picasso Speaks' 1923. Part III: Rationalization and Transformation. Introduction. 5. Neo-Classicism and the Call to Order. Amédée Ozenfant: 'Notes on Cubism' 1916. Guillaume Apollinaire: 'The New Spirit and the Poets' 1918. Oswald Spengler: from The Decline of the West 1918. Carlo Carrà: 'Our Antiquity' 1916-18. Léonce Rosenberg: 'Tradition and Cubism' 1919. Giorgio de Chirico: 'The Return to Craft' 1919. Charles Edouard Jeanneret (Le Corbusier) and Amédée Ozenfant: 'Purism' 1920. Albert Gleizes: 'The Dada Case' 1920. André Derain: 'On Raphael' 1920. Percy Wyndham Lewis: 'The Children of the New Epoch' 1921. Juan Gris: Reply to a Questionnaire 1921. Gustav Friedrich Hartlaub: 'Reply to a Questionnaire' 1922. 6. Dissent and Disorder. Hugo Ball: 'Dada Fragments' 1916-17. Marcel Duchamp: 'The Richard Mutt Case' 1917. Tristan Tzara: 'Dada Manifesto 1918' 1918. Richard Huelsenbeck: 'First German Dada Manifesto' 1918. Richard Huelsenbeck and Raoul Hausmann: 'What is Dadaism and what does it want in Germany?' 1919. Richard Huelsenbeck: from En Avant Dada 1920. Alexander Blok: 'The Decline of Humanism' 1918. Novembergruppe: Draft Manifesto 1918 and 'Guidelines' 1919. Novembergruppe Opposition: 'Open Letter to the Novembergruppe' 1921. Walter Gropius: Reply to Arbeitsrat für Kunst Questionnaire 1919. Max Beckmann: 'Creative Credo' 1918-20. Max Pechstein: 'Creative Credo' 1920. George Grosz: 'My New Pictures' 1921. Francis Picabia: 'Thank you, Francis!' 1923. 7. Abstraction and Form. Hans Arp: Introduction to a catalogue 1915. Man Ray: Statement 1916. Viktor Shklovsky: from 'Art as Technique' 1917. De Stijl: 'Manifesto 1' 1918. Theo van Doesburg: from Principles of Neo-Plastic Art 1915-25. Piet Mondrian: 'Dialogue on the New Plastic' 1919. Piet Mondrian: Neo-Plasticism: the General Principle of Plastic Equivalence 1920-21. Kasimir Malevich: 'Non-Objective Art and Suprematism' 1919. Kasimir Malevich: The Question of Imitative Art 1920. Naum Gabo and Anton Pevsner: 'The Realistic Manifesto' 1920. UNOVIS: 'Programme of a United Audience in Painting of the Vitebsk State Free Workshops' 1920. Wassily Kandinsky: 'Plan for the Physico-psychological Department of the Russian Academy of Artistic Sciences' 1921. Johannes Itten: 'Analyses of Old Master Art' 1921. Oskar Schlemmer: Notes 1922-23. Walter Gropius: 'The Theory and Organization of the Bauhaus' 1923. Theo van Doesburg, El Lissitsky, Hans Richter: 'Declaration of the International Fraction of Constructivists of the First International Congress of Progressive Artists' 1922-23. 17 Wladyslaw Strzeminski: 'What is legitimately called the New Art...' 1924. El Lissitsky: 'A and Pangeometry' 1925. Hannah Höch: 'The painter' c. 1920. José Ortega y Gasset: from The Dehumanisation of Art 1925. 8. Utility and Construction. KOMFUT: 'Programme Declaration' 1919. Vladimir Tatlin: 'The Initiative Individual in the Collective' 1919. Lyubov Popova: Catalogue statement 1919. Nikolai Punin: 'The Monument to the Third International' 1920. Alexander Rodchenko: 'Slogans' and 'Organizational Programme' 1920-21. Alexander Rodchenko and Varvara Stepanova: 'Programme of the First Working Group of Constructivists' 1922. Alexei Gan: from Constructivism 1922. El Lissitsky and Ilya Ehrenburg: Statement by the editors of Veshch 1922. LEF editorial: 'Whom is LEF alerting?' 1923. Osip Brik: 'The So-Called "Formal Method" 1923. Osip Brik: 'From Picture to Calico-Print' 1924. Vladimir Tatlin: 'Report of the Section for Material Culture's Research Work' 1924. Part IV: Freedom, Responsibility and Power. Introduction. 9. The Modern as Ideal. Paul Klee: from On Modern Art 1924. Amédée Ozenfant: from Foundations of Modern Art 1928. Hans Hofmann: 'On the Aims of Art' 1931. Abstraction-Création: Editorial Statements 1932 and 1933. Wladyslaw Strzeminski: Statements 1932 and 1933. Carl Gustav Jung: On the concept of the 'archetype' 1934 and 1938. Alfred H. Barr Jr: from Cubism and Abstract Art 1936. Henri Matisse: Statements to Tériade 1936. Naum Gabo: 'The Constructive Idea in Art' 1937. Piet Mondrian: 'Plastic Art and Pure Plastic Art' 1937. Barbara Hepworth: 'Sculpture' 1937. American Abstract Artists: Editorial Statement 1938. Ibram Lassaw: 'On Inventing Our Own Art' 1938. Ben Nicholson: 'Notes on Abstract Art' 1941. 10. Realism as Figuration. Vladimir Ilyich Lenin: 'On Proletarian Culture' 1920. AKhRR: 'Declaration' 1922. AKhRR: 'The Immediate Tasks of AKhRR' 1924. David A. Siqueiros et al: 'A Declaration of Social, Political and Aesthetic Principles' 1922. Red Group: 'Manifesto' 1924. Otto Dix: 'The Object is Primary' 1927. ARBKD (Asso): 'Manifesto' and 'Statutes' 1928. George Grosz: from 'My Life' 1928. Alfred Rosenberg: from The Myth of the Twentieth Century 1930. Georg Lukács: '"Tendency" or Partisanship?' 1932. Central Committee of the All-Union Communist Party: 'Decree on the Reconstruction of Literary and Artistic Organizations' 1932. John Reed Club of New York: 'Draft Manifesto' 1932. Diego Rivera: The Revolutionary Spirit in Modern Art' 1932. Mario Sironi: 'Manifesto of Mural Painting' 1933. Andrei Zhdanov: 'Speech to the Congress of Soviet Writers' 1934. David A. Siqueiros: 'Towards a Transformation of the Plastic Arts' 1934. Stuart Davis and Clarence Weinstock: 'Abstract Painting in America', 'Contradictions in Abstractions' and 'A Medium of 2 Dimensions' 1935. Grant Wood: from Revolt Against the City 1935. Francis Klingender: 'Content and Form in Art' 1935. Adolf Hitler: Speech Inaugurating the 'Great Exhibition of German Art' 1937. 11. Realism as Critique. Leon Trotsky: from Literature and Revolution 1922-23. André Breton: from the First Manifesto of Surrealism 1924. Louis Aragon: from Paris Peasant 1924. Louis Aragon et al. 'Declaration of the Bureau de Recherches Surréalistes' 1925. André Breton: Surrealism and Painting 1928. André Breton: from the 'Second Manifesto of Surrealism' 1929. George Grosz and Wieland Herzfelde: 'Art is in Danger' 1925. Osip Brik: 'Photography versus Painting' 1926. Sergei Tretyakov: 'We are searching' and 'We Raise the Alarm' 1927. Siegfried Kracauer: from 'The Mass Ornament' 1927. October (Association of Artistic Labour):'Declaration' 1928. Georges Bataille: from 'Critical Dictionary' 1929-30. Georges Bataille: 'The Lugubrious Game' 1929. Salvador Dali: 'The Stinking Ass' 1930. Gustav Klucis: 'Photomontage as a new problem in Agit Art' 1931. Max Ernst: 'What is Surrealism?' 1934. Walter Benjamin: 'The Author as Producer' 1934. Bertolt Brecht: 'Popularity and Realism' 1938. Fernand Léger: 'The New Realism Goes On' 1937. 12. Modernism as Critique. Kasimir Malevich: Letter to Meyerhold 1932. Pablo Picasso: 'Conversation with Picasso' 1935. Herbert Read: 'What is Revolutionary Art?' 1935. Meyer Schapiro: 'The Social Bases of Art' 1936. Jan Mukařvoský: from Aesthetic Function 1934/36. Walter Benjamin: 'The Work of Art in the Age of Mechanical Reproduction' 1936. Theodor Adorno: Letter to Benjamin 1936. Ernst Bloch: 'Discussing Expressionism' 1938. André Breton, Diego Rivera and Leon Trotsky: 'Towards a Free Revolutionary Art' 1938. R. G. Collingwood: Good Art and Bad Art' 1938. Clement Greenberg: 'Avant-Garde and Kitsch' 1939. Harold Rosenberg: 'The Fall of Paris' 1940. Part V: The Individual and the Social. Introduction. 13. The American Avant-Garde. Clement Greenberg: 'Towards a Newer Laocoon' 1940. Adolph Gottlieb and Mark Rothko with Barnett Newman: Statement 1943. Jackson Pollock: Answers to a Questionnaire 1944. Jackson Pollock: Two Statements 1947 and 1947/8. Mark Rothko: 'The Romantics were Prompted...' 1947. Mark Rothko: Statement 1947. Adolph Gottlieb: Statement 1947. Barnett Newman: 'The Ideographic Picture' 1947. Barnett Newman: 'The First Man was an Artist' 1947. Clement Greenberg: 'The Decline of Cubism' 1948. Barnett Newman: 'The Sublime is Now' 1948. Willem de Kooning: 'A Desperate View' 1949. Jackson Pollock: Interview with William Wright 1950. David Smith: 'Aesthetics, the Artist and the Audience' 1952. Clyfford Still: Statement 1952. Harold Rosenberg: from 'The American Action Painters' 1952. Clyfford Still: letter to Gordon Smith 1959. 14. Individualism in Europe. Wols: Aphorisms c. 1945-51. Jean-Paul Sartre: from Existentialism and Humanism 1946. Jean Dubuffet: 'Notes for the Well-Lettered' 1946. Jean Dubuffet: 'Crude Art Preferred to Cultural Art' 1948. Antonin Artaud: from Van Gogh: the Man Suicided by Society 1947. Jean-Paul Sartre: 'The Search for the Absolute' 1948. Samuel Beckett and Georges Duthuit: from Three Dialogues 1949. Jacques Lacan: 'The Mirror-Phase as Formative of the Function of the I' 1949. Jean-Michel Atlan: 'Abstraction and Adventure in Contemporary Art' 1950. Francis Ponge: 'Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti' 1951. Albert Camus: 'Creation and Revolution' 1951. Michel Tapié: from An Other Art 1952. Georg Baselitz: 'Pandemonium Manifestos' 1961-2. Francis Bacon: Interview with David Sylvester 1962-3. 15. Art and Society. Maurice de Vlaminck: 'Open Opinions on Painting' 1942. Francis Klingender: from Marxism and Modern Art 1943. Robert Motherwell: 'The Modern Painter's World' 1944. Renato Guttuso: 'Crisis of Renewal' 1944. Pablo Picasso: 'Why I Joined the Communist Party' 1944. Pablo Picasso: Statement to Simone Téry 1945. Frida Kahlo: On Moses 1945. Lucio Fontana: 'The White Manifesto' 1946. Vladimir Kemenov: from 'Aspects of Two Cultures' 1947. Robert Motherwell and Harold Rosenberg: 'The Question of What Will Emerge Is Left Open' 1947/8. Constant: 'Our Own Desires Build the Revolution' 1949. Asger Jorn: 'Forms Conceived as Language' 1949. André Fougeron: 'The Painter on his Battlement' 1948. Hans Sedlmayr and Theodor Adorno: from the 'Darmstadt Colloquy' 1950. George Dondero: from The Congressional Record 1949. Arthur M. Schlesinger Jr. from The Politics of Freedom 1950. Alfred H. Barr Jr. 'Is Modern Art Communistic?' 1952. Ben Shahn: 'The Artist and the Politician' 1953. Henry Moore: 'The Sculptor in Modern Society' 1952. David A. Siqueiros: 'Open Letter to the Painters, Sculptors and Engravers of the Soviet Union' 1955. Georg Lukács: 'The Ideology of Modernism' 1956. Part VI: The Moment of Modernism. 16. Art and Modern Life. Roland Barthes: from 'Myth Today' 1956. Jirô Yoshihara: Gutai Manifesto 1956. Guy Debord: Writings from the Situationist International 1957-61. Asger Jorn: 'Detourned Painting' 1959. Frantz Fanon: 'On National Culture' 1959. Lawrence Alloway: 'The Arts and the Mass Media' 1958. Allan Kaprow: from Assemblages, Environments and Happenings 1959-65. Piero Manzoni: 'Free Dimension' 1960. Pierre Restany: 'The New Realists' 1960. Groupe de Recherche d'Art Visuel: 'Transforming the Current Situation of Plastic Art' 1961/2. George Maciunas: 'Neo-Dada in Music, Theater, Poetry, Art' 1962. Raymond William: 'The Analysis of Culture' 1961. John Cage: 'On Robert Rauschenberg, Artist, and his Work' 1961. Jasper Johns: Interview with David Sylvester 1965. Richard Hamilton: 'For the Finest Art, Try Pop' 1961. Claes Oldenburg: from Documents from The Store 1961. Andy Warhol: Interview with Gene Swenson 1963. Roy Lichtenstein: Lecture to College Art Association 1964. George Kubler: from The Shape of Time 1962. Marshall McLuhan: from Understanding Media 1964. Gerhard Richter: 'Notes 1964-5'. Tony Smith: from an interview with Samuel Wagstaff Jr 1966. Jasper Johns: Obituary of Marcel Duchamp 1968. 17. Modernist Art. Alain Robbe-Grillet: 'Commitment' 1957. David Smith: 'Tradition and Identity' 1959. Maurice Merleau-Ponty: from 'Eye and Mind' 1961. Roger Hilton: 'Remarks about Painting' 1961. Clement Greenberg: 'Modernist Painting' 1960-65. Theodor Adorno: from 'Commitment' 1962. Barnett Newman: Interview with Dorothy Gees Seckler 1962. Clement Greenberg: from 'After Abstract Expressionism' 1962. Michael Fried: from Three American Painters 1965. Michael Fried: from 'Shape as Form: Frank Stella's New Paintings' 1966. Jules Olitski: `Painting in Color' 1967. Stanley Cavell: 'A Matter of Meaning It' 1967. William Tucker and Tim Scott: 'Reflections on Sculpture' 1967. Richard Wollheim: 'The Work of Art as Object' 1970. Part VII: Institutions and Objections. Introduction. 18. Objecthood and Reductivism. Yves Klein: from 'The Evolution of Art towards the Immaterial' 1959. Carl Andre: 'Preface to Stripe Painting' 1959. Frank Stella: Pratt Institute Lecture 1959-60. Ad Reinhardt: 'Art as Art' 1962. Donald Judd: 'Specific Objects' 1965. Robert Morris: 'Notes on Sculpture 1-3' 1966-67. Michael Fried: 'Art and Objecthood' 1967. Sol LeWitt: 'Paragraphs on Conceptual Art' 1967. Sol LeWitt: 'Sentences on Conceptual Art' 1969. Robert Barry: Interview with Arthur R. Rose 1969. Joseph Kosuth: 'Art after Philosophy' 1969. Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni: Statement 1967. Daniel Buren: 'Beware' 1969-70. 19. Attitudes to Form. Terry Atkinson and Michael Baldwin: 'Air Show' 1967. Michelangelo Pistoletto: 'Famous Last Words' 1967. Robert Smithson: 'A Sedimentation of the Mind: Earth Projects' 1968. Robert Morris: 'Notes on Sculpture 4: Beyond Objects' 1969. Art & Language: Editorial introduction to Art-Language 1969. Ian Burn and Mel Ramsden: 'The Role of Language' 1969. Lawrence Weiner: Statements 1969-72. Victor Burgin: 'Situational Aesthetics' 1969. John A. Murphy: Sponsor's statement for 'When Attitudes become Form' 1969. Germano Celant: from Art Povera 1969. Eva Hesse: Interview with Cindy Nemser. Joseph Beuys: 'Not just a few are called, but everyone' 1972. Lea Vergine: from 'The Body as Language' 1974. Bruce Nauman: Interview with Michele De Angelus 1980. 20. Political Aspects. Hélio Oiticica: 'Appearance of the Supra-Sensorial' 1967/8. Dan Graham: Presentation to an Open Hearing of the Artworkers Coalition 1969. Mierle Laderman Ukeles: 'Maintenance Art Manifesto' c. 1969. Lucy Lippard: 'Interview with Ursula Meyer' 1969 and 'Postface' 1973. Artforum: 'The Artist and Politics: a Symposium' 1970. Art Workers Coalition: Statement of Demands 1970. Valie Export: 'Woman's Art' 1972. Joseph Beuys: 'I Am Searching for Field Character' 1974. Hans Haacke: Statement 1974. Marcel Broodthaers: 'To be bien pensant... or not to be. To be blind' 1975. Mel Ramsden: from 'On Practice' 1975. Ian Burn: 'The Art Market: Affluence and Degradation' 1975. Victor Burgin: from 'Socialist Formalism' 1976. Art & Language: Editorial to Art-Language 1976. 21. Critical Revisions. Jacques Derrida: from Of Grammatology 1967. Michel Foucault: 'What is an Author?' 1969. Louis Althusser: from 'Ideology and Ideological State Apparatuses' 1970. Thomas Kuhn: from 'Postscript – 1969' 1970. Roland Barthes: 'From Work to Text' 1971. Robert Smithson: 'Cultural Confinement' 1972. Leo Steinberg: from Other Criteria 1968-72. Rosalind Krauss: 'A View of Modernism' 1972. Jean Baudrillard: 'Ethic of Labour, Aesthetic of Play' 1973. Laura Mulvey: 'Visual Pleasure and Narrative Cinema' 1973/75. Michel Foucault: A Lecture 1976. Rosalind Krauss: 'Notes on the Index, Part I' 1976/77. Fredric Jameson: from 'Reflections on the Brecht-Lukács Debate' 1977. Raymond Williams: 'Dominant, Residual and Emergent' 1977. Edward Said: From Orientalism 1978. Part VIII: Ideas of the Postmodern. Introduction. 22. The Critique of Originality. Jean Baudrillard: 'The Hyper-realism of Simulation'1976. Pierre Bourdieu: 'Being Different' 1977. Craig Owens: 'The Allegorical Impulse' 1980. Rosalind Krauss: from 'The Originality of the Avant-Garde' 1981. Hal Foster: 'Subversive Signs' 1982. Sherrie Levine: Statement 1982. Art & Language: 'Letter to a Canadian Curator' 1982. Barbara Kruger: '"Taking" Pictures' 1982. Peter Halley: 'Nature and Culture' 1983. Fredric Jameson: 'The Deconstruction of Expression' 1984. Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taaffe, Peter Halley, Ashley Bickerton: 'From Criticism to Complicity' 1986. Julia Kristeva: Interview with Catherine Francblin 1986. 23. Figures of Difference. Edward Said: from 'Opponents, Audiences, Constituencies, and Community' 1981. Mary Kelly: 'Re-Viewing Modernist Criticism' 1981. Ana Mendieta: 'Art and Politics' 1982. Krzysztof Wodiczko: 'Public Projection' 1983. Victor Burgin: from 'The Absence of Presence' 1984. Jacqueline Rose: 'Sexuality in the Field of Vision' 1984/85. Niklas Luhmann: 'The Work of Art and the Self-Reproduction of Art' 1984-86. W. J. T. Mitchell: 'Image and Word' and 'Mute Poesy and Blind Painting' 1986. Raymond Williams: 'When was Modernism?' 1987/89. Louise Bourgeois: Statements from an Interview with Donald Kuspit 1988. Richard Rorty: 'Private Irony and Liberal Hope' 1989. Gayatri Chakravorti Spivak: 'Who Claims Alterity?' 1989. Richard Serra: The Yale Lecture 1990. Mike Kelley: 'Dirty Toys: Mike Kelley Interviewed' 1991/2. Martin Kippenberger: Interview with Jutta Koether 1991/94. Peter Wollen: 'Into the Future: Tourism, Language and Art' 1990/93. Homi K. Bhabha: On 'hybridity' and moving 'beyond' 1994. 24. The Condition of History. Daniel Bell: from 'Modernism and Capitalism' 1978. Jean-Francois Lyotard: 'Introduction' to The Postmodern Condition 1979. Jürgen Habermas: 'Modernity - An Incomplete Project' 1980. Jean-Francois Lyotard: 'What is Postmodernism?' 1982. Julia Kristeva: 'Powers of Horror' 1980. Donald Judd: from '... not about master-pieces but why there are so few of them' 1984. Joseph Beuys, Jannis Kounellis, Anselm Kiefer, Enzo Cucchi: from 'The Cultural-Historical Tragedy of the European Continent' 1986. Gerhard Richter: from 'Interview with Benjamin Buchloh' 1988. Gerhard Richter: Notes 1990. Jeff Wall: from a discussion 1990. Diederich Diederichsen: 'Which Side are You on, Cultural Worker?' 1990. Albert Oehlen: in conversation with Wilfred Dickhoff and Martin Prinzhorn 1991. Olu Oguibe: 'In the Heart of Darkness' 1993. IIlya Kabakov: On installations 1994 and 2000. Doris Salcedo: Interview with Charles Merewether 1999. Franco Moretti: 'MoMA2000: The Capitulation' 2000. Bibliography. Copyright Acknowledgements. Index.

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Book SynopsisBlack, favorite color of priests and penitents, artists and ascetics, fashion designers and fascists, has always stood for powerfully opposed ideas: authority and humility and sin and holiness. This book discusses the social history of the color black in Europe. It is suitable for those interested in the history of fashion, art, media, or design.Trade ReviewWinner of the 2009 Bronze Medal in Fine Art, Independent Publisher Book Awards One of Choice's Outstanding Academic Titles for 2009 "Who would have thought the history of a single color could be so fascinating? Black: The History of a Color, by Michel Pastoureau, (Princeton University Press, $35) proceeds chronologically from cave painting to modern fashion and focuses on mythology, heraldry, religion, science and painting along the way. The author, a historian at the Sorbonne, narrates developments in the material, aesthetic and sociological dimensions of the color black with infectious, wide-ranging curiosity and easy-going erudition. After this you'll want to read his previous book, from the same publisher, Blue: The History of a Color."--Ken Johnson, New York Times Praise for Michel Pastoureau's Blue: "Pastoureau's text moves us through one fascinating area of activity after another... The jacket, cover and end-papers of this luscious book are appropriately blue; its double-columned text breathes easily in the space of its pages; it is so well sewn it opens flat at any place; and fascinating, aptly chosen color plates, not confined to the title color, will please even those eyes denied the good luck of being blue."--William H. Gass, author of Blue: A Philosophical Inquiry, writing in the Los Angeles Times Book Review "This handsome, strikingly designed, richly illustrated book traces the history of the color black in Europe... Like his earlier Blue, this book is well researched, skillfully written, and a pleasure to read."--R. M. Davis, Choice "Michael Pastoureau, in Black: The History of a Color, sees the rise of puritanism and Protestantism as the war of the colours--a war against vivid colour that black usually won... He has a terrific story to tell, and a multitude of gorgeous images to help tell it."--Robert Fulford, The National Post "Black is a penetrating, erudite, thoughtfully illustrated cultural history of a color, by Michel Pastoureau, an author whose earlier work has included--surprise, surprise--Blue."--Nicholas A. Basbanes, The Worcester Telegram & Gazette "French popular art historian Pastoureau here tackles one of the most complex and interesting colours, the favourite of 'priests and penitents, artists and ascetics, fashion designers and fascists.' This social history is lavishly illustrated with paintings, movie stills, photo portraits and fashion shoots."--The Globe & Mail "Until I came upon Michel Pastoureau's 2000 book Blue: The History of a Color it had never occurred to me colors had a history. Turns out they do, and tracking the significance first of blue, now black, provides a satisfyingly fresh angle of approach to the past."--Frtiz Lanham, The Houston Chronicle "What is interesting in sociological histories like Pastoureau's is their revelations about how cultural attitudes change. Black's connection with death began as early as ancient Egypt, when people left black stones on funeral pyres, not in a ghoulish way but as a symbol of rebirth (the Egyptian death divinity, Anubis, was painted black)... But this book will have you seeing black in more shades than you imagined."--Victor Swoboda, The Montreal Gazette "The author of more than a dozen art history books, Pastoureau's work is accessible, generous and witty. What's more, like all good illustrated books, this one is has more than 150 pictures in support of its superb text."--Marc Horton, The Edmonton Journal "Now Princeton University Press has published a social history of this most allusive of hues, Black: The History of a Color, by Michel Pastoureau, a French scholar and author of a similarly titled history of the color blue. Both are lavishly illustrated coffee table books that follow their colors down the time line of European history."--John Zeaman, Design NJ Magazine "This erudite and elegantly written exploration of the history of black charts its changing symbolism and shades of meaning as a colour of death and rebirth, of religious authority and evil, of luxury and poverty."--Fiona Capp, The Age (Australia) "Pastoureau combines a charming, conversational tone with a haughtiness I found entirely endearing. A director of studies at the Ecole Pratique des Hautes Etudes at the Sorbonne in Paris, he writes from a position of professorial confidence. He has conducted extensive research into the history of colour for a quarter century and his aim is to correct misapprehensions and banish ignorance. His style is not to inquire, explore or interrogate, in the fashion of academic studies today. It is to impart knowledge."--Sebastian Smee, The Australian "As the handsomely produced book demonstrates, black is the colour of the pigment used to draw the great bull of Lascaux, of evil, the devil, funerals, the fecundity of the Earth, bears, crows, hell, half the pieces on a chess board, Satan, heretics and priests alike, mysterious cats and, in the 12th century, the mantle of Mary, the mother of Jesus."--Sydney Morning Herald "[T]his book ... reads quite naturally as English ... and it has something worthwhile to say in a style that is informative rather than aimed mostly at enhancing the reputation of the writer among his academic peers... There is much valuable information about the history of dying in different periods and the fashionability of the color black among the nobility and upper classes (later the wealthy merchant class) of Europe."--Colin Blogs Praise for Michel Pastoureau's Blue: "A generous, gorgeous book full of nearly 100 historical and artistic plates, all illustrating the meaning and role of the color blue in Western history... Pastoureau has created something rare: a coffee table book that is also a good read. And not just a good read, but a compelling read."--Brian Bouldrey, Chicago TribuneTable of ContentsINTRODUCTION

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Book SynopsisTranslation of: Rouge: histoire d'une couleur.Trade Review"Love, oh love, oh bloody love! So intense, so beautiful, so treacherous--so red... The new book Red: The History of a Color by Michel Pastoureau ... considers red in all its manifold guises. A richly and imaginatively illustrated survey filled with history, lore, religion, science, cosmetics, archaeology, medicine, alchemy, superstition, magic, linguistics, and even recipes for pigments, the book ambitiously traverses the centuries from prehistoric times to the present."--Barbara A. MacAdam, ARTnews "Pastoureau is the world's most distinguished and influential historian of colour, and ... his life's work on the symbolism of the spectrum is one of the great humane projects of our day."--Kevin Jackson, Literary Review "Pastoureau ... deftly weaves a tapestry that takes in not just the history of Western art, but also etymology, fairy tales and even the origins of modern road signage in heraldry. There can be no doubting his passion."--Stephen Patience, World of Interiors "Red is the color of lovers, blood, and anguish, and often signifies intensity. It is no doubt one of the most important colors in our history. Michel Pastoureau examines its significance through a slew of analytical essays and photographs that reveal the complex and, at times, controversial nature of the color and its relation to other hues."--Metropolis "Gorgeous... [A] splendid book, beautiful to look at and fascinating to read."--Jeff Jacoby, Boston Globe "Does the warning red of our stop signs burble up from the color's association with medieval morality? Does the emergence of red as an ideological identity in right-wing American politics have some echo of the color's use as a symbol of power, such as the red cloak of Charlemagne and the Phrygian cap of the French Revolution? Michel Pastoureau's Red: The History of a Color, recently released by Princeton University Press, is a concise biography of the complex symbolism and perception of this hue of blood and fire."--Allison Meier, Hyperallergic "Beautifully and imaginatively illustrated ... Red is less a theory than a very readable compendium of fascinating facts... Red contains more than enough engrossing diversions that act like a traffic light and bring you to a stop."--Michael Prodger, The Times "Superb."--Vanity Fair "A wonderful book."--Le Figaro Magazine "A heady story of colors."--Telerama "An exciting cultural journey through the color red."--La vie "A rich and exciting story, a transversal approach, accessible to all."--Le Journal des Arts "A captivating human, sociological and spiritual history."--Connaissance des ArtsTable of ContentsIntroduction 7 The First Color (From Earliest Times To The End Of Antiquity) 12 The First Palettes 16 Fire and Blood 22 With Pliny among the Painters 30 Dyeing in Red 37 Roman Purple 40 Red in Everyday Life 44 Evidence from the Lexicon 50 The Favorite Color (Sixth To Fourteenth Centuries) 54 The Four Reds of the Church Fathers 58 The Blood of Christ 64 The Red of Power 69 The First Color of Heraldry 74 Love, Glory, and Beauty 80 Blue versus Red 86 The Wardrobes of Beautiful Florentine Ladies 90 A Controversial Color(Fourteenth To Seventeenth Centuries) 94 In the Flames of Hell 98 Judas, the Redhead 102 Hatred of Red 108 The Red of Painters 116 A Primary Color 126 Fabric and Clothing 130 Little Red Riding Hood 135 A Dangerous Color? (Eighteenth To Twenty-First Centuries) 140 On the Margins of Red: Pink 144 Makeup and Society Life 152 Red Caps and Flags: In the Midst of the Revolution 163 A Political Color 167 Emblems and Signals 176 Red for the Present Day 181 Notes 195 Bibliography 209 Photography Credits214 Acknowledgments 216

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Book SynopsisCharming, eccentric, endlessly inventive, Heath Robinson's unforgettable drawings perfectly capture the peculiar character of the British nation at leisure.Trade Review‘One of the 20th century's most prolific comic artists’ The Sunday Times ‘Genius ahead of his time’ Metro ‘Your absurd, beautiful drawings... give me a peculiar pleasure of the mind like nothing else in the world' H.G. Wells, letter to Heath Robinson (1914)

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Book SynopsisThis book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research.The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, researchers, students in the creative arts and university leaders.Table of ContentsIntroduction; 1. Practice-led research, Research-led practice: towards the Iterative Cyclic Web, Hazel Smith and Roger T. Dean; Section I: Methodologies of Practice-led research and Research-led practice; 2. Making Space: The Purpose and Place of Practice-led Research, Graeme Sullivan; 3. New Media: the 'First Word' in Art?, Simon Biggs; 4. Knowledge Unspoken: Contemporary Dance and the Cycle of Practice-led Research, Basic and Applied Research, and Research-led Practice, Shirley McKechnie and Catherine Stevens; 5. Practice as Research through Performance, Baz Kershaw; 6. Beach combing: a fossicker's guide to whiteness and indigenous sovereignty, Anne Brewster; Section II: Case Histories; 7. Integrating Creative Practice and Research in the Digital Media Arts, Andrew R. Brown and Andrew Sorensen; 8. Mariposa: The story of new work of research/creation, taking shape, taking flight, Kathleen Vaughan; 9. Sustaining The Sustainable? Developing a practice and problem-led New Media Praxis, Keith Armstrong; 10. Nightmares in the Engine Room, Jane Goodall; Section III: Creative Practice and Research in Education and Politics; 11. Acquiring Know-How: Research Training for Practice-led Researchers, Brad Haseman and Daniel Mafe; 12. Asking questions of art: higher education, research and creative practice, Judith Mottram; 13. The Academic Mode of Production, Sharon Bell; Index.

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Book Synopsis An illustrated exploration of the fundamental connections between art and science, from an author who has lived in both worlds. In this thought-provoking book, Philip F. Palmedo, a former physicist who now writes on art, reveals how the two defining enterprises of humankind - art and science - are rooted in certain common instincts, which we might call aesthetic: an appreciation of symmetry, balance, and rhythm; the drive to simplify and abstract natural forms, and to represent them symbolically. Palmedo traces these instincts back to a very early time in human history - demonstrating, for example, the level of abstract thinking required to create the stone tools and cave paintings of the Paleolithic - and then forward, to the builders of the Gothic cathedrals, to Leonardo da Vinci and Isaac Newton, to Einstein and Picasso. Illustrated with more than 125 creations of the genus Homo - from a flint hand axe chipped half a million years ago to the abstractions of Hilma af Klint and the James Webb Space Telescope - Palmedo''s text leaves us with a new appreciation of the instinct for beauty shared by artists and scientists alike.

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Book SynopsisA retrospective of the preeminent Greek-born American artist, who was a pioneer in the use of neon in the realm of fine art.Prolific multimedia artist Stephen Antonakos (1926–2013) is best known for his resplendent abstract neon sculptures—instantly recognizable for their vibrant colors and crisp geometry. Along with well-known artists Lucio Fontana, Bruce Nauman, Keith Sonnier, and his compatriot Chryssa, Antonakos brought new perceptual and formal possibilities to the medium of neon.This comprehensive book comprises Antonakos’s diverse output of neon, canvases, drawings, travel collages, chapels, and gold works, all of which reflect an abiding concern with illumination, incomplete geometric shapes, and an almost mystical spirituality that is manifest throughout his oeuvre, from his overtly religious pieces to his playful assembled collages from his trips to Greece. His later works feature neon lights placed behind painted or gold-leaf panels,

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Book SynopsisAlthough the earliest records of written French date from the 9th century, it was not until the 13th century, when there was an explosion of texts in the 'mother tongue', that French became widespread as a written language. And only in 1539, by King Francis I, was French deemed the official language of the kingdom.

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Book SynopsisBlood is life, its complex composition is finely attuned to our vital needs and functions. Blood can also signify death, while ''bloody'' is a curse. Arising from the 2021 Darwin College Lectures, this volume invites leading thinkers on the subject to explore the many meanings of blood across a diverse range of disciplines. Through the eyes of artist Marc Quinn, the paradoxical nature of blood plays with the notion of self. Through those of geneticist Walter Bodmer, it becomes a scientific reality: bloodlines and diaspora capture our notions of community. The transfer of blood between bodies, as Rose George relates, can save lives, or as we learn from Claire Roddie can cure cancer. Tim Pedley and Stuart Egginton explore the extraordinary complexity of blood as a critical biological fluid. Sarah Read examines the intimate connection between blood and womanhood, as Carol Senf does in her consideration of Bram Stoker''s novel Dracula.Table of ContentsNotes on Contributors; Introduction Iosifina Foskolou and Martin Jones; 1. Battle Blood Claire Roddie; 2. Transitional Bleeding in Early Modern England Sara Read; 3. Blood in Motion, or The Physics of Blood Flow Tim Pedley; 4. 'Dracula', Blood, and the New Woman: Stoker's Reflections on the Zeitgeist Carol Senf; 5. Blood Lines of the British People Walter Bodmer; 6. Heroes and Villains of Blood Rose George; 7. Cold Blood: Some Ways by which Animals Cope with Low Temperatures Stuart Egginton; 8. Blood Sculptures Marc Quinn; Index.

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Book SynopsisFocussing on the independent videogames sector, this book provides readers with a vocabulary to articulate and build their games writing practice; whether studying games or coming to games from another storytelling discipline. Writing for Games offers resources for communication, collaboration, reflection, and advocacy, inviting the reader to situate their practice in a centuries-long heritage of storytelling, as well as considering the material affordances of videogames, and the practical realities of working in game development processes.Structured into three parts, Theory considers the craft of both games and writing from a theoretical perspective, covering vocabulary for both game and story practices. Case Studies uses three case studies to explore the theory explored in Part 1. The Practical Workbook offers a series of provocations, tools and exercises that give the reader the means to refine and develop their writing, not just for now, but as a part of a life-long practice.Writing for Games: Theory and Practice is an approachable and entry-level text for anyone interested in the craft of writing for videogames.Hannah Nicklin is an award-winning narrative and game designer, writer, and academic who has been practising for nearly 15 years. She works hard to create playful experiences that see people and make people feel seen, and also argues for making games a more radical space through mentoring, advocacy, and redefining process. Trained as a playwright, Nicklin moved into interactive practices early on in her career and is now the CEO and studio lead at Danish indie studio Die Gute Fabrik, which most recently launched Mutazione in 2019.Trade Review"Hannah Nicklin's Writing for Games is an essential manual for anyone working on games, whether they are story-driven or not. It is a comprehensive overview of the process of writing for games, and what it actually means in context, how it is integrated in the process of production, and how it relates to writing for other media. As an interdisciplinary text, it is the perfect bridge for writers from other media into games; at the same time, it also helps game designers and developers understand how writing connects games to other disciplines and guides the reader to how to draw inspiration from them. Even if the reader does not intend to be a writer, Writing for Games is a very accessible text to understand the work of writers and narrative designers, providing detailed strategies to incorporate games and stories successfully. The advice and lessons all come from practice and first-hand knowledge, which ensures that the learnings are relevant to day-to-day practices of game development. All told with a very personable and approachable tone - a joy to read."Clara Fernandez-Vara, Associate Arts Professor, New York University."Hannah Nicklin's Writing for Games is an essential manual for anyone working on games, whether they are story-driven or not. It is a comprehensive overview of the process of writing for games, and what it actually means in context, how it is integrated in the process of production, and how it relates to writing for other media. As an interdisciplinary text, it is the perfect bridge for writers from other media into games; at the same time, it also helps game designers and developers understand how writing connects games to other disciplines and guides the reader to how to draw inspiration from them. Even if the reader does not intend to be a writer, Writing for Games is a very accessible text to understand the work of writers and narrative designers, providing detailed strategies to incorporate games and stories successfully. The advice and lessons all come from practice and first-hand knowledge, which ensures that the learnings are relevant to day-to-day practices of game development. All told with a very personable and approachable tone - a joy to read."Clara Fernandez-Vara, Associate Arts Professor, New York University.Table of ContentsPart I Theory. 1. Craft. 2. Vocabulary – Games. 3. Vocabulary – Story Structure. 4. Vocabulary – Story Components. 5. Games Writing as a Discipline. 6. Form-led Design. 7. A Note on Writing Comedy. 8. Further Reading. 9. A Note on Ethics. Part II Case Studies. 10. Introduction to the Case Studies. 11. Character and Dialogue in Life is Strange 2. 12. Ethics and Adaptation in 80 Days. 13. Format and the Heist in Last Stop. Part III A Practical Handbook. 14. Introduction to the Workbook. 15. Tools for Starting. 16. Tools for Developing. 17. Tools for Finishing.

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Book SynopsisThis book presents over 20 authors' reflections on curating care' and presents a call to give curatorial attention to the primacy of care for all life and for more caring curating' that responds to the social, ecological and political analysis of curatorial caregiving.Social and ecological struggles for a different planetary culture based on care and respect for the dignity of life are reflected in contemporary curatorial practices that explore human and non-human interdependence. The prevalence of themes of care in curating is a response to a dual crisis: the crisis of social and ecological care that characterizes global politics and the professional crisis of curating under the pressures of the increasingly commercialized cultural landscape. Foregrounding that all beings depend on each other for life and survival, this book collects theoretical essays, methodological challenges and case studies from curators working in different global geographies to explore the range of wTable of ContentsIntroduction; Part I. Caring Curating; 1. Curatorial Labour and Decolonial Feminism; 2. Get Bodied: Inverting the Witch to Summon a New Commons; 3. A Conversation with Lauren Craig. Interview by Racha Baraka Pauline; 4. Transcultural Care and the Cultural Sector in the United Kingdom; 5. Caring for ‘range-ful’ identities in the work of Danielle Brathwaite Shirley; 6. Decolonial and Heritage Practices in the Context of Current Global Challenges. Quilombola Museology and Digital Technologies in Brazilian Community Museums; 7. Caring Curating and Social Media; 8. A Laboratory of Care. Active Micropolitics, Joyfulness and Affectivity; 9. Avtonomi Akadimia. Curating becomes Curing; 10. Care, Aftercare, and the Work of Transmission: Learning from Greenham Common; 11. Caring for Mourning, Working with Loss. Curating, Listening, and Attending to the Sacred in Peruvian Highlands and Forests; 12. Care, Thought, Being: Curating with a Wounded Planet; Part II. Curating Care; 13. Curating Forms of Care in Art and Activism: A Roundtable on Life Support; 14. From Coping to Curious: Unlearning and Reimagining Curatorial Habits of Care; 15. Care for Caregivers: Curating against the Care Crisis; 16. Cultivating Care Ethics and the Minor Gesture in Curatorial and Research Practices; 17. ‘Do what you do best and outsource the rest’ - Curatorial Lessons within Cultures of Outsourcing; 18. The Platform of Care: Collective Curatorial Modes of the n*a*i*l*s hacks*facts*fictions platform; 19. Curating Queer Nursing: the performance installation PARTUS Gyno Bitch Tits; 20. Curating a Collective Body: a Non-Idealized Concept of Care; 21. Spellbound. Witchcraft Activism as Caring Curatorial Practice; 22. Curating Aliveness. Engaging with Ecologies; 23. Hansel Sato: La escuela del buen vivir/ The school of good life: counteracting the imperial mode of living

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Book SynopsisThis graphic sketchbook is a primer for sparking imagination and creativity in landscape architecture and urban design drawing. Field Sketching for Environmental Designers is an ideal guide and companion for both beginning and advanced drawing enthusiasts. The text is profusely illustrated and loaded with fun and enlightening examples of work from a plethora of experienced artists, designers, planners and naturalists from around the world. Each chapter provides easy-to-follow instructions on a wide variety of techniques for field sketching and plein-air painting. The exercises are designed to help readers progressively build a set of skills that will help them construct meaning and gain knowledge from on-site, field observation.Trade Review“Using a plethora of historical and contemporary examples Chip Sullivan shows us how to carefully look at the world in which we live, while making relevant a seemingly archaic medium like watercolor. As a “why to” as well as a “how to” book, Field Sketching for Environmental Designers challenges the current supremacy of digital imagery by showing how much is lost when the human hand has been removed. And not only that: it’s also fun to look at and read.”Marc Treib, Professor of Architecture Emeritus, University of California, Berkeley, and editor of Drawing/Thinking: Confronting and Electronic Age and Representing Landscape Architecture.“This book should be on your favorites shelf. Landscape Architecture is a visual language. How do we learn to illustrate our ideas? The beauty in this book is the simplicity of its visual language and yet it is packed with “how to” knowledge. Chip once again builds a crescendo from the basic plan to elaborate pictorials. This is book useful for students and professionals for their entire career.”Tricia Keffer, Sunday Coffee Podcast“This visually inspiring publication offers a fascinating overview of various drawing techniques, methods, styles and visual communication strategies that is a ‘must-have’ for landscape architectural students and professionals. It captures various types of landscapes from the rural to the cityscape, and design layouts from the formal to the informal, using drawing to explain the spaces and scales, and capturing the audience’s attention.”Nadia Amoroso, Associate Professor in Landscape Architecture, University of Guelph, author and editor of the Representing Landscapes series“Chip's field sketching was one of many discoveries, filled with historical, technical, interpretive and aartistic learning from the experience and the observation. I particularly enjoyed the San Francisco sketch crawl ending in Levi's Plaza that showed a wide array of design language and materials, and users, each reflecting the era of its creation and its evolution. Sketching to capture such dynamic qualities was such a challenge and a valuable learning experience of its own!”Yumiko Nakano“Chip's field sketching classes have been absolutely invaluable in my personal artistic journey within the environmental design field. I've always felt that part of his rare brand of genius is how easily he's able to see the genius in everyone and everything else around him. Not only will he help you to develop in your own style, he will also help you to see more dimension in the landscape and in yourself as a designer/artist than you ever could have imagined!”Victoria King“Starting out as someone who felt very insecure in my ability to hand-draw and worried that there would be nothing positive to say about the drawings I could produce, it felt like magic how quickly my field sketching sessions with Chip fast-tracked me to the point where I could impress myself with my own drawings and see noticeable improvement from week to week. With Chip's unwavering support of everyone's individual style, I'm no longer afraid that my own artistic expression of the landscape is 'wrong,' simply because it may appear differently than others.”Victoria King"Chip's field sketching sessions helped me regain confidence in my ability to draw. His positivity, encouragement, and whimsy helped me return to the joy of putting pen to paper as a way of processing the world around me. As I progress in my career, I hold Chip's voice in my head to keep me positive during moments of self-doubt in the design process."Caroline Lindquest“This is a great tool for communication. The ability to promptly draw in the field is highly coveted as you analyze and use different parts of your brain when drawing. “Maria Lopez Vazquez"Anyone can master the art of sketching, and there's no better way to learn than by simply being out in the world. Strengthening the hand-eye connection and allowing yourself to quickly capture forms and gestures allows you to understand the world in different ways. Quick sketching is also a great party trick to impress others." Dalton WalkerTable of Contents1. Woods, Groves, and Grids 2. The Gesture of Landscape: Plants, People, Space 3. Plein-Air Watercolor: Tools, Techniques, Adventures 4. Cityscapes: The Urban Journal 5. Pictorial Maps: Visual Essays and Serial Observation 6. The City Sketch Expedition: Plazas, Parks, and Art 7. Drawn on the Move 8. Drawing Ecologies Launch Pad

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Book SynopsisThe development of effective and usable software for spatial computing platforms like virtual reality (VR) requires an understanding of how these devices create new possibilities (and new perils) when it comes to interactions between humans and computers. Virtual Reality Usability Design provides readers with an understanding of the techniques and technologies required to design engaging and effective VR applications.The book covers both the mechanics of how human senses and the mind experience immersive virtual environments, as well as how to leverage these mechanics to create human-focused virtual experiences. Deeply rooted in principles of human perception and computational interaction, the current and future limitations of these replacements are also considered. Full of real-world examples, this book is an indispensable guide for any practising VR developer interested in making efficient and effective interfaces. Meanwhile, explorations of concrete theory in their practical application will be useful for VR students and researchers alike.Table of Contents1. What Makes Virtual Reality Remarkable? 2. Making the Virtual Seem Real 3. Sensation and Perception 4. Supporting Primary Senses 5. Supporting Peripheral Senses 6. Perceiving Space and Scale 7. Further Psychological Effects of Inhabiting a Virtual Environment 8. Experience Usability 9. Fictions of Physics 10. Locomotion and Navigation 11. Activities and Interactions 12. Information Display 13. Translating Traditional Interfaces for VR

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Book SynopsisThis is the first book to critically explore international leisure during the COVID-19 pandemic. It analyses the ways in which the pandemic has impacted upon our leisure practices and our leisure lives, focusing on three key spaces public, private, and digital.The book seeks to understand how changes in leisure have led to transformations in the ways we have had to do' and redo' activities, such as incorporating digitalisation and distancing measures, as well as dealing with restrictions on social interaction, gatherings, and cultural activities. It presents a series of case studies covering topics as diverse as music festivals, theatre on-screen, walking, static cycling, smartphone use, holidays, and the lockdown leisure' of preschool children, including people across the life course, from young children to older retired people. The book discusses changes in patterns of behaviour, leisure experiences, and leisure environments worldwide and critically re-evaluates whaTable of ContentsList of contributors. Introduction. PART I Transformations in public spaces. 1 Nightlife leisure activities during COVID-19: Restrictions, spatial transformations, and social changes in clubbing space in the examples of Polish cities. 2 The ritualistic nature of pandemic leisure. 3 The impact of COVID-19 on travel behaviour and holiday intentions: Evidence from Greece. 4 Exploring African American college student experiences of leisure-time physical activity and psychological wellbeing during COVID-19. 5 How did music festival stakeholders face pandemic uncertainty? Two case studies: Bachfest in Leipzig and BAM Festival in Barcelona. PART II Transformations in private spaces. 6 Toddler and pre-school children’s physical activity during a pandemic. 7 Children’s and families’ changing everyday geographies: Playing, learning, and exercising outdoors during COVID-19. 8 Bridge during a time of disruption: Pandemic playing, everyday habits, and situated writing. 9 Rhythms in home-based leisure during the COVID-19 lockdown. PART III Transformations in digital spaces. 10 Changing "theatre-going" behaviours during COVID-19: Theatre on the screen. 11 Digital leisure as sites of diasporic solidarity. 12 COVID-19’s impact on leisure coping and smartphone use. 13 Stories of older adults’ resilience in adapting leisure behaviours due to COVID-19 restrictions. Index.

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Book SynopsisExploring everything from company incorporation and marketing, to legal, finance and festivals, Starting a Theatre Company is the complete guide to running a low-to-no budget or student theatre company. Written by an experienced theatre practitioner and featuring on-the-ground advice, this book covers all aspects of starting a theatre company with limited resources, including how to become a company, finding talent, defining a style, roles and responsibilities, building an audience, marketing, the logistics of a production, legalities, funding, and productions at festivals and beyond. The book also includes a chapter on being a sustainable company, and how to create a mindset that will lead to positive artistic creation. Each chapter contains a list of further resources, key terms and helpful tasks designed to support the reader through all of the steps necessary to thrive as a new organisation. An eResource page contains links to a wide range of industry created templTable of Contents1. Introduction 2. Defining your Style and Company Voice 3. Becoming a Company 4. Roles and Responsibilities 5. Building an Audience 6. Marketing and Branding 7. Logistics of Production 8. Legal and Safety 9. Finance 10. Raising Funds 11. Festivals 12. Putting on Work 13. Business Sustainability 14. Failure, Endings and Exit 15.Final Words

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Book SynopsisThis book is the first introduction to Western art that not only considers how choice of materials can impact form, but also how objects in different media can alter in appearance over time, and the role of conservators in the preservation of our cultural heritage.The first four chapters cover wall and easel paintings, sculpture, drawings, and prints, from the late Middle Ages to the present day. They examine, with numerous examples, how these works have been produced, how they might have been transformed, and how efforts regarding their preservation can sometimes be misleading or result in controversy. The final two chapters look at how photography, new techniques, and modern materials prompted innovative ways of creating art in the twentieth century, and how the rapid expansion of technology in the twenty-first century has led to a revolution in how artworks are constructed and seen, generating specific challenges for collectors, curators, and conservators alike.This

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Book SynopsisThis book documents the unique reporting practices of humanitarian journalists an influential group of journalists defying conventional approaches to covering humanitarian crises.Based on a 5-year study, involving over 150 in-depth interviews, this book examines the political, economic and social forces that sustain and influence humanitarian journalists. The authors argue that by amplifying marginalised voices and providing critical, in-depth explanations of neglected crises these journalists show us that another kind of humanitarian journalism is possible. However, the authors also reveal the heavy price these reporters pay for deviating from conventional journalistic norms. Their peripheral position at the boundary zone' between the journalistic and humanitarian fields means that a humanitarian journalist's job is often precarious with direct implications for their work, especially as watchdogs' for the aid sector. As a result, they urgently need more support if they a

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Book SynopsisThe Metaverse: A Critical Introduction provides a clear, concise, and well-grounded introduction to the concept of the Metaverse, its history, the technology, the opportunities, the challenges, and how it is having an impact on almost every facet of society. The book serves as a stand-alone introduction to the Metaverse and as an introduction to the range of topics that will be covered by the specialist volumes in The Metaverse Series.Key Features: a concise history of the Metaverse idea and related implementations to date; an examination of what the Metaverse actually is; an introduction to the fundamental technologies used in the Metaverse; an overview of how the different uses and aspects of the Metaverse are having an impact on our lives across multiple disciplines and social contexts; a consideration of the opportunities and challenges of the evolving Metaverse; and a sense of how the Metaverse may matu

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Book SynopsisA concise guide to the creative application of appropriation and remix that offers a set of open-ended guidelines for art and design studio-based projects, this book explores creativity with emerging technology, including artificial intelligence.This fully revised and expanded second edition engages with the ongoing recycling and repurposing of content and form, and the new directions the emerging form of metacreativity is taking art and design as artists continue to expand their creative methodologies. Exploration of metacreativity is new to this edition, with a focus on remix principles, the implementation of data analysis and the delegation of parts of the creative process to automated algorithms and artificial intelligence. Each chapter includes an introduction, goals for guidelines of a studio-based project, with an explanation of relevant history, as well as examples and case studies. Each set of guidelines is open-ended, enabling the reader to repurpose the instruction

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Book SynopsisBeyond the principles of reduce, reuse, and recycle, this book looks at the way that every department on a production can contribute to reducing waste and making a smaller footprint. Are you making a green film? Is your filmmaking contributing to the environmental crisis, or is it part of the solution? How can film students make movies in a more ecologically friendly way so that our planet can continue to be inhabited by humans who watch our movies? This book is a step-by-step look at the ways that each person and department in a film's production can make simple changes to reduce the environmental footprint of moviemaking. It is an essential guide for film students, graduates, and professionals engaged in the practice of making media.

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Book SynopsisBlack Womenâs Liberation Movement Music argues that the Black Womenâs Liberation Movement of the mid-to-late 1960s and 1970s was a unique combination of Black political feminism, Black literary feminism, and Black musical feminism, among other forms of Black feminism.This book critically explores the ways the soundtracks of the Black Womenâs Liberation Movement often overlapped with those of other 1960s and 1970s social, political, and cultural movements, such as the Black Power Movement, Womenâs Liberation Movement, and Sexual Revolution. The soul, funk, and disco music of the Black Womenâs Liberation Movement era is simultaneously interpreted as universalist, feminist (in a general sense), and Black female-focused. This musicâs incredible ability to be interpreted in so many different ways speaks to the importance and power of Black womenâs music and the fact that it has multiple meanings for a multitude of people. Within the worlds of both Black Popular Movement STrade Review"Reiland Rabaka is one of America’s foremost scholars of the African American experience. That he has turned his gaze to Black women and music can only be cause for excitement, as all his previous works carry the label: SOTA, or state of the art. Given the depth and scope of this work, it will readily become a standout ‘reference’ work. This represents an amazing accomplishment, even by Rabaka’s standards."William E. Cross, Jr., Professor Emeritus, University of Denver and author of Shades of Black"Black Women’s Liberation Movement Music is in some ways an extension of themes that have figured prominently in Professor Rabaka’s previous books including The Hip Hop Movement, Hip Hop’s Inheritance, Hip Hop’s Amnesia, Civil Rights Music, and Black Power Music! In all, Rabaka speaks as a sociologist, musician, and social historian to confront head-on the tacit and pervasive marginalization and erasure of women’s agency in the tides of progressive social change, especially as these tides manifest themselves in music; and in all he dismantles the strategies of erasure and highlights a dazzling tapestry of Black women’s crucial contributions. But in this book, those themes find their fulfillment or even culmination. Although scholarly and popular study of this watershed period in cultural history has focused on men (White and Black), Black Women’s Liberation Movement Music demonstrates compellingly that the liberation movement of Black women, including its music, was a primary agent if not the primary agent of transformational societal changes during the period 1960-80. I recommend this beautifully structured and eloquently argued study to anyone interested not only in the Black Women’s Liberation Movement, but also in other movements including the Black Power movement, the women’s liberation movement, and the sexual revolution."John Michael Cooper, Professor of Music, Southwestern UniversityTable of ContentsIntroduction. The Musical Icons and Anthems of the Black Women’s Liberation Movement 1. The Black Women’s Liberation Movement 2. Black Musical Feminism 3. Soul Sisters 4. Black Feminist Funksters 5. Afro-Disco Divas Conclusion. On the Popular Music of Black Women’s Unpopular Movement

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Book SynopsisAward-winning action-adventure designers Christopher Totten and Adrian Sandoval guide you on a quest to create levels for different styles of 2D action-adventure games, from top-down dungeon-crawler adventures to side-scrolling non-linear âœMetroidvaniaâ titles. Blending theory and practical analysis, this book shows how principles of game and level design are applied in some of your favorite 2D action-adventure games. It uses examples from popular games such as The Legend of Zelda and Hollow Knight, while also providing insights from the authorsâ own experiences creating independent games in the genre.This book also intersperses these examples with practical exercises in 2D action-adventure world design using the free and easy-to-use GB Studio engine, allowing readers to practice their skills and see how lessons from the theory chapters apply in real game development environments. These practical chapters cover the basics of using GB Studio and related software

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Book SynopsisNow in its eighth edition, Designing with Light introduces readers to the art, craft, and technology of stage lighting to help them create designs that shape the audienceâs emotional reaction toâand understanding ofâa stage production.This new edition is fully updated to include current information on the technology and equipment of stage lighting: lighting fixtures, lamps, cabling, dimmers, control boards, and LED tape, as well as electrical theory. Readers will learn how designed light is used to enhance the audienceâs understanding and enjoyment of a production. The book includes specific information on drafting the light plot, explores the challenges of designing for different stage configurations, and provides examples of lighting designs for dramas, musicals, and dance. It also features comments and thoughts from active designers from both mainstream theatrical productions and related industries, and has a new emphasis on diversity and inclusion-related practices

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Book SynopsisThis book covers how to build materials and VFX that bring your projects to life in Unreal Engine. Each chapter will provide you with the necessary underpinning theory as well as activities to test your learning inside of Unreal Engine.You'll learn about Material Graphs, Parameters, Instances, Materials Maths, Nodes, Niagara Emitters and much more as you complete project-based examples. Included in the book is a series of introductory demonstration videos and quizzes to help test your learning, giving you all the tools and knowledge to make cutting-edge game materials and VFX.This book will be of great interest to all students learning to create technical art within Unreal Engine, as well as professionals looking to sharpen their skills.

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