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Bloomsbury Publishing (UK) Aesthetics of Ugliness
Book SynopsisKarl Rosenkranz (1805 1879) was a German philosopher. He followed Kant and Herbart as professor of philosophy in Königsberg; in 1848-49 he took part in the reform government in Berlin.Andrei Pop is Associate Professor in the John U. Nef Committee on Social Thought at the University of Chicago.Mechtild Widrich is Assistant Professor of Contemporary Art History in the School of the Art Institute of Chicago, USA.Trade ReviewRosenkranz’s prose, given new life in this fine translation, sparkles with enlivening incident and wry asides … Rosenkranz’s essay is a text to linger over. * Times Literary Supplement *The great value of the concept of ugliness is dialectical. The contrast with the beautiful can be a distinct way of illuminating that notion, and with it the ideal of art as such. Karl Rosenkranz’s Aesthetics of Ugliness, here carefully edited, lucidly introduced, and elegantly translated by Andrei Pop and Mechtild Widrich, shows us in detail how one might understand this contrast, illuminating fundamental issues in aesthetics and in the self-understanding of modernity along the way – a very valuable contribution to any discussion. * Robert Pippin, Professor, the Committee on Social Thought, Department of Philosophy, University of Chicago, USA *Table of ContentsTable of Contents: 1. Introductory essay by Andrei Pop and Mechtild Widrich 2. Karl Rosenkranz, Aesthetics of Ugliness, 1853 3. The Text: Introduction Section 1: Formlessness Section 2: Incorrectness Section 3: Deformation or Disfiguration Conclusion Rosenkranz's and editors' notes 4. Texts crucial to the understanding of the Aesthetics of Ugliness: i) Rosenkranz’s review of Hegel's Aesthetics, 1836 and 1839 ii) Rosenkranz's entry on "Aesthetics in its Development" in the Brockhaus Conversation-Lexikon, 1838 iii) Rosenkranz, “Beauty and Art” section of his System of Science, 1850 Bibliography Index
£28.99
Bloomsbury Publishing PLC The Feminist Uncanny in Theory and Art Practice
Book SynopsisThe Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith RinTrade ReviewA powerful feminist critique of not only the home, but a number of borders and boundaries. -- Oxford Art JournalThe Feminist Uncanny in Theory and Art Practice provides a much needed remedy of the Freudian uncanny for a feminist art history. Kokoli’s intertextual coupling of ‘woman’ and the ‘unhomely’ unhinges the uncanny from castration and propagates it in a novel series of ‘domestic’ spheres in work by women artists and collectives. Whether in the postal art of Feministo or the paraconceptualism of Susan Hiller, Kokoli’s feminist uncanny transforms homelessness into a home which is strange, subversive and revels in its ambivalence. The Feminist Uncanny in Theory and Art Practice is set to become a core curriculum text. -- Maria Walsh, Senior Lecturer in Art History and Theory, University of the Arts London, UKThis book is an essential reading for anyone interested in the productive yet troubling collaboration and contradictions between feminism and the theoretical apparatus of psychoanalysis. Kokoli proposes the feminist uncanny as the site of this critical encounter, exploring the multiple definitions of the concept and offering new readings of prominent feminist artworks as well as less well known projects. -- Mo Throp, Researcher and PhD Supervisor, University of the Arts London, UKIn The Feminist Uncanny, Alexandra Kokoli brings the psychoanalytic and political registers of domestic space into tension through a new dialogue of the uncanny with feminist artistic practices. Offering the reader deeper insights into the unsettling nature inherent in such practices of resistance and liberation, Kokoli makes an important original contribution to contemporary feminist scholarship. -- August Jordan Davis, Senior Research Fellow, University of Southampton, UKIn this fascinating book, Alexandra Kokoli pursues the thread of the ‘uncanny’, taking it from Freud through interlocking and mutually interrogating layers of theory, to reveal its potential in feminist fine art. The heterogeneous range of art work engaged with enables Kokoli to expose and examine the broader, subversive significance of the ‘feminist uncanny’, opening up an innovative, unsettling and rewarding approach to feminist fine art practices. -- Sue Tate, Research Fellow, University of the West of England and Freelance Art Historian, UKAlexandra Kokoli’s The Feminist Uncanny is a smart and engaging re-evaluation of the long-standing troubled relationship between feminism and psychoanalysis, and its complex manifestation in feminist art practice. Kokoli not only offers a series of deft analyses of the diverse provocations made by this genealogy but, focusing on the marginal yet powerful spaces of femininity within culture, rethinks the feminist calling card that the ‘personal is political’. -- Joanne Morra, Reader in Art History and Theory, University of the Arts London, UKTable of ContentsTOC Introduction: Why Witches? Part 1 (‘Theory’) Chapter 1: The Uncanny Feminine Chapter 2: The Feminist Uncanny Part 2 (‘Practice’) Chapter 3: ‘Moving Sideways’ and Other Dead Metaphors: Susan Hiller’s Paraconceptualism Chapter 4: Squats and Evictions: The Uncanny as Unhomely Chapter 5: Dinner Parties: Eating Out, Coming Together Chapter 6: Legions (‘For we are many’) Chapter 7: Family Albums: World Making as Compensation Postscript A: The Academic One Postscript B: The Melancholic One Bibliography Index
£34.99
Bloomsbury Publishing PLC Between Discipline and a Hard Place
Book SynopsisWritten from the perspective of a practising artist, this book proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is. Jelinek contends that while there are objects called art' in museums from deep into human history and from around the globe - from Hans Sloane's collection, which became the foundation of the British Museum, to Alfred Barr's inclusion of primitive art' within the walls of MoMA, the Museum of Modern Art - only those that have been made with the knowledge and discipline of art should rightly be termed as such. Policing the definition of art in this way is not to entrench it as an elitist occupation, but in order to focus on its liberal democratic potential. Between Discipline and a Hard Place describes the value of art outside the current preoccupation with economic considerations yet without resorting to a range of stereotypical and ultimately instrumentaTrade Review‘Writing from within the artworld, Jelinek a hard look at the problems facing contemporary art and the responsibilities that artists themselves have in sorting them out. Her proposed solutions – the result of much reflection – will surprise, even outrage, people. It should be read by artists and non-artists alike.’ * Derek Matravers, Professor of Philosophy, The Open University, UK *Table of Contentspreface Introduction 1. What is art really?(According to the general public, art historians, anthropologists and philosophers, art and artists) 2. What is a discipline? (Historically, globally,contemporary disciplines, elite disciplines, anti-disciplines 3. Why Disciplines? Neoliberalism and the strategy of disciplines, value and excellence 4. The discipline of art How art is a discipline 5. Art and other disciplines Levinas, Glissant and the other, multi-, inter- and transdisciplinarity 6. Art and politics… and ethics 7. Art in Society 8. Genius! (the ongoing appeal of genius, exclusions from the shape of genius, towards understanding art and artists in other terms) Conclusion bibliography index
£999.99
Bloomsbury Publishing PLC Tintorettos Difference
Book SynopsisA provocative account of the philosophical problem of difference' in art history, Tintoretto's Difference offers a new reading of this pioneering 16th century painter, drawing upon the work of the 20th century philosopher Gilles Deleuze. Bringing together philosophical, art historical, art theoretical and art historiographical analysis, it is the first book-length study in English of Tintoretto for nearly two decades and the first in-depth exploration of the implications of Gilles Deleuze's philosophy for the understanding of early modern art and for the discipline of art history. With a focus on Deleuze's important concept of the diagram, Tintoretto's Difference positions the artist's work within a critical study of both art history's methods, concepts and modes of thought, and some of the fundamental dimensions of its scholarly practice: context, tradition, influence, and fact. Indicating potentials of the diagrammatic for art historical thinking across the registers ofTrade ReviewAn ambitious and well-orchestrated monograph that seeks to address emerging problems in diverse but contiguous domains ... [A] complex but gratifying inquiry. * Pli: The Warwick Journal of Philosophy *An important contribution to a genuinely philosophical study of a painter. This book is both a brilliantly argued and highly original study of Tintoretto. It is one of the first to attempt to interconnect the art historical and the philosophical and needs to be viewed as integral to the creation of a new field of study. * Andrew Benjamin, Professor of Philosophy and the Humanities, Kingston University, UK *Even the most reflective contemporary art history continues to imagine artistic practices as puzzles posed to the discourse of their time. From T.J. Clark's reading of Manet to Georges Didi-Huberman's interpretation of Fra Angelico, the move is to reveal how critical discourse is stalled or ruined by the apparently inassimilable artwork. This strategy is supported by art history's sense of theories and theorists. As an alternative Vellodi suggests Deleuze, for whom such arguments subordinate "difference to the identical." This is an exemplary book: Vellodi reads historical sources together with the recent past of art history, in order to present a "diagram" of Tintoretto in which the present is fully implicated. It is a model of thoughtful writing on art. * James Elkins, Professor of Art History, Theory and Criticism, School of the Art Institute of Chicago, USA *Vellodi’s book is destined to become one of the classic studies of Tintoretto, not because it offers a new interpretation of his work, but because it sees Tintoretto’s paintings as an “ongoing affront” to the discipline of art history. As such, Vellodi winds up proposing a radically new approach to the history of art that is inspired by Deleuze, one that focuses less on Tintoretto’s historical context than his “difference” from that context. A ground-breaking and revolutionary book. * Daniel W. Smith, Professor of Philosophy, Purdue University, USA *With assured thought and lucid prose, as well as a masterful pacing that allows her initially to broach but also to revisit and further develop complex ideas, Vellodi presents not only an original thesis about Tintoretto’s ‘stage-method’ and a masterful understanding of the philosophy of Gilles Deleuze, but a work that traverses each as a method of demonstrating art-historical thought at work. * Art History *Table of ContentsList of Figures Preface Prologue 1.Tintoretto: A Problem for Art History? - Tradition and Contextualism - Representational Thought - Theory, Philosophy - Towards Deleuze - Deleuze and Art History - The Diagram 2. Tintoretto and his Time? - Christ Among the Doctors - Annibale’s hesitation - Aretino’s U-Turn - Miracle of the Slave - Historia - The Stage-Method - Painting and Theatre - Tintoretto: From Theatre to Drama - Genealogy of the Stage-Method in Tintoretto’s Works - Ridolfi’s Motto - Art History’s Recycling of Ridolfi’s Motto - Deleuze and Diagrams of Art History - Deleuze’s Tintoretto 3. Diagrammatic Constructivism - Thought as Difference - Deleuze’s Diagram and Kant’s Schema - Kant’s Constructivism - Pierce’s Diagram: An empiricist’s Constructivism - Pure Icons - Diagrammatic Subversion of Iconography in Tintoretto’s Works - Tintoretto’s Ghostly Figures - The Genetic method: Maimon and Deleuze - Deleuze’s Transcendental Empiricism - Tintoretto’s Constructivism. Stage Method as Diagram? 4. Diagrammatic Aesthetic - Deleuze after Kant: Sensation and Genesis - Genetic Method in the Third Critique - Material Aesthetic and the Work of Art - Aesthetic Paradigm - Diagrammatic Aesthetic - Diagrammatic Art - Tintoretto’s Material Constructivism - Constructivism Beyond Venetian Empiricism - Tintoretto’s Imagination - Boschini’s Experience - The Scuola Grande di San Rocco 5. Diagrammatic Time - Time of Difference - Anachronism in Contemporary Art History - Constructivism, Time and Art - Deleuze’s Syntheses of Time - The Third Synthesis of Time and Nietzsche’s Eternal Return - The Diagram, Genealogy and History - Tintoretto’s Time - Tintoretto’s Return in the 2011 Venice Biennale Conclusion Bibliography Index
£32.99
Bloomsbury Publishing (UK) Noël Carroll and Film
Book SynopsisMario Slugan is Postdoctoral Associate Fellow in the Department of Film and Television Studies and the Department of German Studies at the University of Warwick, UK researching film philosophy and film history. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Döblin to Fassbinder (2017) and the managing editor of an open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe.Table of ContentsList of Illustrations Acknowledgements Introduction 1. Institutional Context 2. Film Theory 3.Assessment of Theory 4. Analytic and Cognitivist Debates 5. Interpretation and Filmmaking 6. Philosophy of Art Conclusion Bibliography Index
£32.99
Bloomsbury Publishing (UK) Time to Play
Book SynopsisKatarzyna Zimna is an independent artist, researcher and book illustrator based in London and Lodz, Poland. Her work has featured in exhibitions across Europe. She teaches at the Institute of Architecture of Textiles at the Technical University of Lodz.Table of ContentsList of Illustrations Acknowledgements Introduction 1. Modern Perspectives on Play 2. 12Play is a Movement in between the Opposites 3. Play: From Modern Strategy t oPost-modern Tactic 4. The Turn to Play Conclusion Notes References SelectedBibliography Index
£32.99
Bloomsbury Publishing (UK) Art and Politics A Small History of Art for Social Change Since 1945
Book SynopsisClaudia Mesch is Associate Professor of Art History at the School of Art at Arizona State University, Tempe, Arizona. Her publications include Joseph Beuys: The Reader (edited with Viola Michely, I.B.Tauris and MIT Press, 2007) and Modern Art at the Berlin Wall: Demarcating Culture in the Cold War Germanys (I.B.Tauris, 2008)Table of ContentsIntroduction: A Prehistory of Political Modernist Art Chapter 1: State-Sponsored Art, 1949-present -Zhadnovian socialist realism and 1945: Alexander Deineka - Postwar Western socialist realisms: André Fougeron; Renato Guttuso; Pablo Picasso; Diego Rivera - African socialist realisms: Tshibumba kanda Matulu, Congo; Monument to Agostinho Neto, Angola - American art and the Cold War: Jackson Pollock - Political Cold War Painting in the west: Sigmar Polke; Eugen Schoenebeck; Erro; Bernard Rancillac; Tseng Kwong Chi - Wric Bulatov and late-Soviet political painting Chapter 2: Civil Rights/Postcolonial Movements,1960- - Art of the Civil Rights movement and its legacies: Romare Bearden; Betye Saar; David Hammons; Lorna Simpson - Postcolonialist art: Yinka Shonibare; Chris Ofili; Steve McQueen; Bodys Isek Kingelez; Meschac Gaba Chapter 3: The Anti-War Movement, 1965- - Vietnam: Leon Golub; Nanacy Spero; Ed Kienholz; Peter Saul; George Segal; Erro ( Gundmundur Gundmundsson); the Guerilla Art Action Group; Mark di Suvero' Groupe Cronica; Wolf Vostell; Martha Rosler - Afghanistan, the Gulf Wars, and Middle East conflict: Jeff Wall; Harun Farocki; Walid Ra'ad - Torture: Luis Camnitzer; Doris Salcedo; Francisco Botero Chapter 4: Feminisim.,1970- -US feminisims: Womanhouse ( Miriam Shapiro and Judy Chicago); Betye Saar; Carolee Schneeman; Eva Hesse; Ana Mendieta; Barbara Kruger; Cindy Sherman - European femininisms: Mona Hatoum; Shirin Neshat; Le Groupe Amos (Congo); Wangechi Mutu Chapter 5: Gay Rights, 1969- - Gay rights and AIDS activism inside and outside of the artworld: ACTUP; Gran Fury; Group Material; Ross Bleckner; David Wojnarowicz; Martin Wong; Oliviero Toscani ( for Benetton) - Lesbian identity: Catherine Opie Chapter 6: Environmentalist Art, 1972- - Origins of a "land ethic" in art reclamation: Robert Smithson; Hans Haacke; Betty Beaumont; Alan Sonfist; Agnew Denes; Helen Mayer-Harrison and Newton Harrison: Joseph Beuys - New environmentalism: Mel Chin; kathryn Miller; Ines Doujak; Sokari Douglas-Camp and Platform London; Beatriz da Costa Chapter 7: Anti-Globalization, 1999- - In real time and space: Thomas Hirshhorn; Alfredo Jaar; Alighiero Boetti - Migrants' and Workers' rights: mierle Laderman Ukeles; Yolanda Lopez; Chantal Akermann; Multiplicity; Minerva Cuevas; Huit Facettes ( Senegal); Corie Cole; the Border Film Project - Informatics Activism: 0100101110101101.ORG; Radical Software Group; Mongrel; Raqs Media Collective Epilogue: Art and Politics to Come - Bioethics: Eduardo Kac; Critical Art Ensemble: Tissue Culture & Art
£27.47
Bloomsbury Publishing (UK) Fashion Seductive Play
Book SynopsisEugen Fink (1905-1975) was Professor of Philosophy at the University of Freiburg, Germany.Stefano Marino is Associate Professor of Aesthetics at the University of Bologna, Italy.Giovanni Matteucci is Full Professor of Aesthetics at the University of Bologna, Italy.
£28.99
Bloomsbury Publishing PLC Plants by Numbers
Book SynopsisThis open access book takes a queer, feminist, and decolonial technoscience approach to the ecologies that emerge from our entanglements with nonhumans (air, rocks, algae, trees, soil and plants) and computational hard/software. In Plants by Numbers, artists and theorists working with computation address the urgent need to think beyond the human paradigm, opening up new fields of debate that question the troubled relationship between ecosystems and human technology.Organised around three key themes--techno-nature entanglements, plants as resistant agents, and becoming-with-plants--the volume provides a vital pathway through complex theoretical ideas that inform the practices of artists working in the fields of computation and ecology.Fusing art theoretical and art practice approaches, the contributors describe how we might design, make and imagine computational processes differently, or otherwise, through the co-production of artworks with plants. Showing how
£28.99
Bloomsbury Publishing PLC Militant Aesthetics
Book SynopsisIn 2008 an Iraqi artist was waterboarded as performance art. In 2010 artists upturned police cars in Russia. But what exactly do we mean by militant art and aesthetics? Bringing together the philosophy of art and politics, Martin Lang provides a comprehensive examination of militant art activism: its history, its advocates and the aesthetic theory behind it. Protest art is not a new concept and yet this book argues that after the terrorist attacks of 9/11 distinctly 21st-century forms of art activism emerged. On the one hand these became militant as artists retained belief in the possibility of radical political change through art. On the other hand, this belief developed in a hostile environment, when anti-terror legislations reclassified activists and artists as terrorists. Through first-hand interviews and experiences, Militant Aesthetics sheds light on numerous international case studies of modern art activism and the different ways they can be classif
£28.99
Bloomsbury Publishing PLC Manifesta Art Society and Politics
£36.80
Bloomsbury Publishing (UK) Humor in Global Contemporary Art
£28.99
Bloomsbury Publishing PLC Inaesthetic Theory
Book SynopsisVangelis Giannakakis is a Research Affiliate and Adjunct Lecturer in Philosophy at Goethe University Frankfurt, Germany.
£80.75
Bloomsbury Publishing (UK) Writings on Art and Politics
Book SynopsisMarcus Hurwitz is a philosopher, art critic, and writer whose work engages with the historical avant-garde, Moscow Conceptualism, and installation art alongside contemporary French, German, and Russian philosophy.
£71.25
Bloomsbury Publishing (UK) Postdevelopmental Approaches to Challenging Myths and Misconceptions in Early Childhood Art
Book SynopsisHeather G. Kaplan is Assistant Professor of Art Education at the University of Texas El Paso, USA.Christine Marmé Thompson is Professor Emeritx at Pennsylvania State University, USA.
£85.50
Bloomsbury Academic The Aesthetic Question
Book SynopsisJane Forsey is Professor in the Department of Philosophy at the University of Winnipeg, Canada. She is the author of The Aesthetics of Design (2016), as well as numerous articles in philosophical aesthetics. Her work has been widely translated.
£76.50
Bloomsbury Publishing (UK) Victorian Muse The Afterlife of Dantes Beatrice in NineteenthCentury Literature Continuum Literary Studies Series
Book SynopsisJulia Straub is Lecturer in Literatures in English at the University of Berne, Switzerland.Trade Review"A Victorian Muse makes an important contribution to research on the nineteenth-century reception of Dante. Julia Straub's approach combines theoretical sophistication with clarity of exposition and wide-ranging scholarship. Her work will also be of value to those interested in gender issues, aesthetics and relationships between media during the period." (Nick Havely, Professor of English & Related Literature, University of York, UK; editor of Dante's Modern Afterlife) "If Dante is 'the central man of all the world' as Ruskin argued, then Beatrice, as Julia Straub so beautifully argues, is the central woman, a figure who embodies the idealisations of Victorian culture, but also their critique. The most arresting chapter for me was that on Walter Pater, where Straub demonstrates that a study of Beatrice's redemptive femininity actually allows the articulation of a specifically masculine mode of creativity." (Alison Milbank, Associate Professor, Department of Theology, The University of Nottingham, UK)"Table of ContentsAcknowledgements; List of Figures; 1. Introduction: Beatrice's Victorian Afterlife; 2. Seeing Beatrice: The Visualization of Beatrice in Victorian Culture; 3. Looking for the Real Beatrice: The Rossetti Family; 4. Ideal Visions: Dante Gabriel Rossetti and Christina Rossetti; 5. Deconstruction of an Ideal: George Eliot's Romola; 6. Mourning a Male Beatrice: Alfred Lord Tennyson's In Memoriam; 7. Construction of a New Ideal: Walter Pater's 'Diaphaneite'; Conclusion; Biliography; Index.
£37.99
Bloomsbury Publishing (UK) Endless Andness The Politics of Abstraction According to Ann Veronica Janssens
Book SynopsisMieke Bal is the author of Reading Rembrandt: Beyond the Word-Image Opposition, Narratology: Introduction to the Theory of Narrative, and many other books. She is Professor of the Theory of Literature at the University of Amsterdam, and has also been affiliated with Columbia University, the University of Rochester, and Cornell University, USA.Trade ReviewBoth a profound reflection on the categories for thinking about art, and a study of a remarkable series of art installations. Endless Andness is a powerful and eloquent evocation of the experience of art that otherwise would envelop the viewer in its singular spaces. In exploring such concepts as performativity, deixis, and participatory observation, concepts that enable reflection on Janssens' art events, Mieke Bal offers a broad framework for thinking about art today. * Jonathan Culler, Professor of English, Cornell University, USA *Mieke Bal's absorbing and comprehensive study of the work of Ann Veronica Janssens is an exemplary achievement on many levels. Bal teases out the playful, affective but rigorous character of the artist's 'sculptural' works, showing how they draw participant viewers into experiment with 'the ungraspable yet utterly material that exists beyond the burden of objects.' In doing so, she shows how these works exemplify a novel Deleuzian concept of abstraction, as well as a democratic and empowering sense in which art can be 'political.' This is a book for anyone with an interest in contemporary art, philosophy and a more modest sense of the political. * Paul Patton, Professor of History and Philosophy, University of New South Wales, Australia *What a great book that explains the art of seeing by performing, reading, acting , spacing and traversing, and the art works of Ann Veronica Jannssens and others...An absolute must for each student and visiting observer of modern art. -- Angela van der Burght * Glass is more! *Table of ContentsList of Figures Prologue Introduction 1. How to Do Things with Clouds 2. Light Matters 3. Inside the Polis 4. Serendipity 5. And-ness Epilogue: Ten Ways of Sharing Space References
£26.99
Bloomsbury Publishing (UK) Deleuze and Futurism
Trade ReviewThe book’s constructive project is worthy of attention. Kaspar uses the many objections to intuitionism to pare the theory down to its essentials; then, he develops a framework that promises to solve the explanatory and epistemological puzzles that the view faces. ... An engaging and accessible work. -- Robert William Fischer, Texas State University, USA * Philosophy in Review *In this exceptionally rewarding study of Deleuze and futurism, Helen Palmer enacts new possibilities for rigorous scholarship, where precise formal analysis and powerful conceptual innovation combine to give us the deepest practical explanation of Deleuze’s radical philosophy of language, while pointing to the continued importance of futurism as template for avant-garde movements. * James Williams, University of Dundee, UK *This important new study sheds more light on a movement that has profoundly influenced the development of literature and the arts in the 20th century internationally. While there are excellent books dealing with futurism, the avant-garde, and Deleuze’s philosophy individually, there is no book bringing together those two topics for comparison like this book does. It highlights for the first time the connection between the futurist manifestoes and Deleuze’s philosophical writings, from both a conceptual and a linguistic perspective * Anna Lawton, Adjunct Professor, Georgetown University, USA *Table of ContentsIntroduction 1. Poetics of Futurism: Zaum, Shiftology, Nonsense 2. Poetics of Deleuze: Structure, Stoicism, Univocity 3. The Materialist Manifesto 4. Shiftology #1: From Performativity to Dramatisation 5. Shiftology #2: From Metaphor to Metamorphosis 6. The See-Sawing Frontier: Linguistic Spatiotemporalities 7. Conclusion: Suffixing, Prefixing Notes Bibliography Index
£31.42
Bloomsbury Publishing (UK) The Curatorial
Trade ReviewThe anthology features contributions from tutors, guest speakers and students, all of whom delve into what “the curatorial” is and what it might mean in the future ... The multiplicity of perspectives included in this book ... [are] a useful addition. * Museus e Estudos Interdisciplinaires *Arguing that curating like mapping is an outmoded concept, the specially commissioned essays in The Curatorial propose curatorial as a disruptive activity that provokes us to rethink received knowledge about art, art history, philosophy and cultural heritage. With its rich collection of texts by leading writers and theorists, The Curatorial is essential reading for anyone active in the arts as a curator, practitioner or writer. * Dr. Sue Malvern, Senior Lecturer, Faculty of Art, University of Reading, UK *Table of ContentsNotes on Contributors List of Illustrations Preface Irit Rogoff (Goldsmiths College, UK) and Jean-Paul Martinon(Goldsmiths College, UK) Introduction Jean-Paul Martinon (Goldsmiths College, UK) Part I: Send-Offs 1. On the Curatorial, From the Trapeze Raqs Media Collective 2. Theses in the Philosophy of Curating Jean-Paul Martinon (Goldsmiths College, UK) 3. Whence the Future? Alfredo Cramerotti (University of Wales, UK) 4. The Expanded Field Irit Rogoff (Goldsmiths College, UK) 5. Dear Art,Yours Sincerely Natasa Ilic (WHW, Croatia and Germany) Part II: Praxeologies 6. The Curator Crosses the River: A Fabulation Stefan Nowotny (Goldsmiths College, UK) 7. Becoming-Curator Suzana Milevska (Institute of Gender Studies, Macedonia) 8. An Exhausted Curating Leire Vergara (Goldsmiths College, UK and University of the Basque Country, Spain) 9. Eros, Plague, Olfaction: Three Allegories of the Curatorial Jenny Doussan (Goldsmiths College, UK) Part III: Moves 10. The Task at Hand: Transcending the Clamp of Sovereignty Ariella Azoulay (Brown University, USA) 11. The Simple Operator Sarah Pierce (Sandberg Institute, The Netherlands) 12. Three Short Takes on the Curatorial Doreen Mende (Dutch Art Institute, The Netherlands) 13. Aku menjadi saksi kepada / What I am Thinking Roopesh Sitharan (University of Santa Cruz, USA) 14. Betrayal and the Curatorial Joshua Simon (Museum of Bat Yam, Israel and New School, NY, USA) Part IV: Heresies 15. A Conspiracy Without a Plot Stefano Harney (Singapore Management University, Singapore) and Valentina Desideri 16. What does a Question Do? Micropolitics and Art Education Susan Kelly (Goldsmiths College, UK) 17. Being Able to Do Something Nora Sternfeld (Aalto University, Finland) 18. The Politics of Residual Fun Valeria Graziano (Queen Mary University, UK) Part V: Refigurations 19. Modern Art: Its Very Idea Helmut Draxler (Merz Academy, Germany) 20 Two Invoking Media: Radio and Exhibition Jean-Louis Déotte (University of Paris, France) 21. In Unfamiliar Terrain Anshuman Dasgupta (Visva-Bharati University, India) 22. Curating Ghostly Objects Cihat Arinç 23. Non-Museums Adnan Madani (Goldsmiths College, UK) Part VI: Stages 24. Curating, Dramatization, and the Diagram Bridget Crone(Goldsmiths College, UK) 25. Curating Context Aneta Szylak(Copenhagen University, Denmark and Goldsmiths, UK) 26. Backstage and Processuality Ines Moreira(Goldsmiths College, UK) 27. This is Not About Us Je Yun Moon(Goldsmiths College, UK) Coda The Curatorial Charles Esche (University of the Arts, London, UK) Bibliography Index
£32.41
Bloomsbury Publishing (UK) How to Sleep
Book SynopsisMatthew Fuller is Professor of Cultural Studies, Goldsmiths, University of London, UK. He is co-author of Evil Media (2012), Editor of Software Studies: a Lexicon (2008) and co-editor of the journal Computational Culture.Trade ReviewMatthew Fuller has composed a revelatory and brilliantly original book. This richly insightful and multifaceted work will be indispensable reading for anyone concerned with the increasingly urgent problem of sleep. -- Jonathan Crary, Meyer Schapiro Professor of Modern Art and Theory, Columbia University, USAWhere do you fall when you fall asleep? Out of consciousness and into a state of quasi-death, or into an unconscious form of activity? Do you withdraw from the world or get projected upon it differently? Who is the subject of sleep? Like love, sleep makes us creative and vulnerable at the same time. It is a democratic state, yet inaccessible to phenomenological accounts: it does not even make sense to state: “I am asleep”, and yet sleep deprivation is torture. Arguing passionately that sleep is both our posthuman, animal core and a form of power, this original volume performs a series of sleep acts, ranging from insomnia, apnea, narcolepsy, to sleep-walking, doziness, cataplexy and plain not wanting to wake up. In a brilliant combination of aphorisms, meditations, snippets of self-help and shreds of critical analysis, the book explores the bio-politics of sleep, as well as its social, psychological and aesthetic aspects. This is Matthew Fuller at his best: witty, theoretically sharp and thoroughly enjoying his inimitable flair for paradoxes. -- Rosi Braidotti, Distinguished University Professor and founding Director of the Centre for the Humanities at Utrecht University, The NetherlandsTable of Contentspreface acknowledgements 1. How to Sleep 2. Without Thinking 3. Dormant 4. I Don't Want to be Awake 5. The Domestic Architecture of the Skull 6. Heroes of Sleep 7. Too Much Dream 8. Mediating 8. Sleep Acts 9. Repulsive Sleep 10. Ingredients of Sleep 11. Sleep Gltiches 12. Body Parts 13. Be Unconscious 14. The Luxuriance of Dissolving 15. Free-Running 16. Sleep in Love 17. Vulnerable 18. Hyperpassivity 19. The Eye Busy Unseeing 20. How to Thrive Biologically 21. Repetition 22. Architecture 23. Laws Governing Sleep 24. Film Sleep 25. Man Controls the Day.But We Will Control the Night 26. Headless Brim 27. Trains and Buses 28. The Smell of Sleep 29. The Child's Bed 30. Brain as Labourer 31. Melnikov’s Promethean Sleepers 32. Sleep on the Road 33. Terraforming 34. Dozy-looking 35. Nocturne 36. Waking Up 37. Equipment 38. Sleep Upright In Order to Avoid Death 39. Animal Sleep 40. Wrap Up Warm bibliography index
£23.99
Partridge Africa MY PARTTIME STUDY NOTES ON MSSQL SERVER
£13.59
Bloomsbury Publishing (UK) August Strindberg and Visual Culture
Book SynopsisJonathan Schroeder is William A. Kern Professor in Communications at Rochester Institute of Technology, USA.Anna Westerstahl Stenport is Chair and Professor in the School of Modern Languages at Georgia Institute of Technology, USA.Eszter Szalczer is Professor of Theatre and Head of History, Literature and Criticism of the Theatre Program at the University at Albany, New York, USA.Trade ReviewAugust Strindberg was not only a leading innovator in the modern theatre but also in modern art, in a new visual culture, on stage and on canvas. This highly stimulating book brings together a range of younger researchers, practitioners, artists, and prominent intellectuals to reassess a major literary figure from the perspective of visual theory and art history. * Göran Söderström, Professor Emeritus of Art History, Lund University and Stockholm University, Sweden, head of the Strindberg Museum (1973-1990), and author of Strindbergs måleri (2017) *This interdisciplinary collection brings together essays by Strindberg scholars, theater directors, and literary and cultural theorists that explore the interplay between writing, photography, painting, and modernity in Strindberg’s work. A welcome contribution to Strindberg’s scholarship, August Strindberg and Visual Culture illuminates the relationship of his work as a whole to visual cultures and different media since the turn of the last century. * Lynne R. Wilkinson, Associate Professor of Germanic Languages, Comparative Literature, and Women's and Gender Studies, University of Texas at Austin, USA *Table of ContentsForeword: An Extraordinary Transdisciplinary Artist Daniel Birnbaum, The Museum of Modern Art, Stockholm, Sweden 1. Introduction: Visual Culture, August Strindberg, and The Double Image of Modernity Eszter Szalczer, Anna Westerstahl Stenport, and Jonathan Schroeder 2. Hands, Dissection, and Embodied Seeing: Strindberg and Munch Allison Morehead, Queen’s University, Canada 3. May the Force Be With You”: Strindberg's Paintings Arnold Weinstein, Brown University, USA 4. Strindberg the Environmentalist? Blood-stained Landscapes and the French Tradition of Nature Painting Eszter Szalczer, University at Albany, SUNY, USA 5. Ghosts of the Brain Made Real: Anti-theatricality, Visuality, and Disembodiment Across Strindberg’s Late Chamber Media Amy Holzapfel, Williams College, USA 6. Méliès’s Dream Film and Strindberg’s Dream Play: Compressing Time and Space Scott MacKenzie, Queen’s University, Canada, and Anna Westerståhl Stenport, Georgia Institute of Technology, USA 7. Strindberg and the Images of the Stage: A Dramaturg’s Perspective Magnus Florin, The Royal Dramatic Theatre, Stockholm, Sweden 8. Staging Strindberg’s A Dream Play: A Visual Essay Robert Wilson, Artist and Director 9. Robert Wilson’s Photographic Elements of A Dream Play Jonathan Schroeder, Rochester Institute of Technology, USA 10. Dream-Playing the Archive: Exploring the 1915-18 Düsseldorf production of A Dream Play Astrid von Rosen, University of Gothenburg, Sweden 11. Anticipations of the Digital: Dispersing Strindberg Berndt Clavier, Malmö University, Sweden, and Timothy Engström, Rochester Institute of Technology, USA 12. Picturing Miss Julie: Gender and Visuality in Performance Practice Kristina Hagström-Ståhl, Stockholm Academy of Dramatic Art, Sweden 13. Strindberg’s Self-Portraits in Context Lisa Hostetler, George Eastman Museum, Rochester, New York, USA 14. My Strindberg Selfies Pierre Guillet de Monthoux, Copenhagen Business School, Denmark 15. Scenography, Photography, Cinematography: Strindberg and the Technologies of Visual Representation Freddie Rokem, Tel Aviv University, Israel 16. Liv Ullmann’s Miss Julie: An Interview with Reflections Liv Ullmann, Director and Actress
£130.00
Wilfrid Laurier University Press Rites of Way: The Politics and Poetics of Public Space
Book Synopsis There are many ways to approach the subject of public space: the threats posed to it by surveillance and visual pollution; the joys it offers of stimulation and excitement, of anonymity and transformation; its importance to urban variety or democratic politics. But public space remains an evanescent and multidimensional concept that too often escapes scrutiny. The essays in Rites of Way: The Politics and Poetics of Public Space open up multiple dimensions of the concept from architectural, political, philosophical, and technological points of view. There is some historical analysis here, but the contributors are more focused on the future of public space under conditions of growing urbanization and democratic confusion. The added interest offered by non-academic work - visual art, fiction, poetry, and drama - is in part an admission that this is a topic too important to be left only to theorists. It also makes an implicit argument for the crucial role that art, not just public art, plays in a thriving public realm. Throughout this work contributors are guided by the conviction, not pious but steely, that healthy public space is one of the best, living parts of a just society. The paths of desire we follow in public trace and speak our convictions and needs, our interests and foibles. They are the vectors and walkways of the social, the public dimension of life lying at the heart of all politics. Trade Review"Containing fiction and visual art in addition to more conventional essays, this book is a lively discussion of the role that public spaces play--or could play--in modern cities." -- Research Book News, February 2010, 201002"The collection soon departs from its foundation in urbanism and takes a provokative, interdisciplinary turn, offering work by a rich assortment of voices, including a political theorist on subversive public spaces conducive to play and social deliberation as work, by a philosopher on how the city is public by definition, a novelist on characters struggling with a city's overlapping physical and social conventions, a new-media artist on the transformative effect of street festivals, and an art historian on the resurgence of outdoor art. Lisa Robertson's blending of poetry, urban geography, social history, and the arts in her excerpt, `Seven Walks from the Office for Soft Architecture,' provides a fitting conclusion to a collection that will prove of interest to anyone concerned with what she calls the `spiritual domain'--as much the land stretching out from our persons, as our immediate surroundings that contain the mutable threshold between within and without (170). It is up to us to rap on the glass." -- Patrick Barron, University of Massachusetts, Boston -- Interdisciplinary Studies in Literature and Environment, 17:4, Autumn 2010, 201102"To most familiar issues of public space and its fate, this collection brings insights that should be fatal to naive assumptions." -- Jon Spayde -- Public Art Review, Spring/Summer 2010, 201007Table of Contents Rites of Way: The Politics and Poetics of Public Space, edited by Mark Kingwell and Patrick Turmel Introduction: Rites of Way, Paths of Desire Mark Kingwell and Patrick Turmel PART I Masters of Chancery: The Gift of Public Space Mark Kingwell We Wuz Robbed Joe Alterio PART II Public Space: Lost and Found Ken Greenberg Architecture and Public Space Alberto Pérez-Gómez The Enduring Presence of the Phenomenon of the ""Public"": Thoughts from the Arena of Architecture and Urban Design George Baird Private Jokes, Public Places: An Excerpt Oren Safdie PART III Holistic Democracy and Physical Public Space John Parkinson Public Spaces and Subversion Frank Cunningham Take to the Streets! Why We Need Street Festivals to Know Our Civic Selves Shawn Micaleff How Insensitive: An Excerpt Russell Smith PART IV Beauty Goes Public Nick Mount Protect the Net: The Looming Destruction of the Global Communications Environment Ron Deibert The City as Public Space Patrick Turmel ... walks from the office for soft architecture Lisa Robertson Contributors Index About the Contributors Joe Alteri is a San Francisco-based illustrator, comic artist, and animator. His work has appeared both nationally and internationally, in editorial as well as in advertising. Joe is best for RobotsAndMonsters.org, a project which trades custom comic art for donations to a good cause. Joe's work has appeared both nationally and internationally, in editorial as well as in advertising. He is working on his first graphic novel, due out next year. More of his work can be seen at http://www.joealterio.com. George Baird is dean of the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto and partner in the Toronto-based architecture and design firm Baird Sampson Neuert Architects Inc. Author of Alvar Aalto (1968) and The Space of Appearance (1995), he is also the co-editor, with Charles Jencks, of Meaning in Architecture (1969) and, with Mark Lewis, of Queues, Rendezvous, Riots: Questioning the Public in Art and Architecture (1995). Robin Collyer has been exhibiting sculpture and photography since 1971. He is best known for his three-dimensional works that use industrial materials, found objects, and images from advertising and media. Photography has always played an equal role in his practice, sharing with his sculpture, an analysis of architectural forms, the urban landscape, and issues of representation. His photo work has included critical views of photographic content, urban and natural landscapes, and digital technology. Collyer has represented Canada in international exhibitions such as documenta 8 1987 and the Venice Biennale 1993. He has works in numerous public and private collections in Canada and internationally. He is represented by Gilles Peyroulet et Cie., Paris, and the Susan Hobbs Gallery in Toronto. Frank Cunningham is a member of the University of Toronto's Cities Centre and a professor of philosophy and political science at the university. He is the author of numerous articles and books on political theory, including Democratic Theory and Socialism (1987), The Real World of Democracy Revisited (1994), and Theories of Democracy: A Critical Introduction (2002). Ron Deibert is an associate professor of political science and director of the Citizen Lab at the Munk Centre for International Studies, University of Toronto. He is a co-founder and a principal investigator of the OpenNet Initiative, the director of the psiphon censorship circumvention software project, and co-founder and director of the Information Warfare Monitor. Deibert has published numerous articles, chapters, and two books on issues related technology, media, and world politics. Architect and urban designer Ken Greenberg has played a leading role on a broad range of assignments in highly diverse urban settings in North America and Europe. Much of his work focuses on the rejuvenation of downtowns, waterfronts, and neighbourhoods, as well as campus master planning. In each city, with each project, his strategic, consensus-building approach has led to coordinated planning and a renewed focus on urban design. Current efforts include work on plans for Toronto's Lower Don Lands (involving reshaping the mouth of the Don River into an urban estuary where it enters Toronto Harbour), a strategic master plan for Boston University's Charles River Campus, plans for the renewal of Grange Park in association with the Art Gallery of Ontario, and plans for the Calgary Riverwalk along the Bow and Elbow Rivers. Mark Kingwell is a professor of philosophy at the University of Toronto and a contributing editor of Harper's Magazine. He is the author of eleven books of political and cultural theory, including most recently Concrete Reveries: Consciousness and the City (2008) and Opening Gambits: Essays on Art and Philosophy (2008). He is the recipient of the Spitz Prize in political theory and National Magazine Awards for both essays and columns, and in 2000 was awarded an honorary DFA from the Nova Scotia College of Art & Design for contributions to theory and criticism. He is currently at work on a philosophical biography of the pianist Glenn Gould. Lisa Klapstock is a Toronto-based artist who has exhibited her work extensively in Canada and Europe as well as doing residencies in Rotterdam, Helsinki, Copenhagen, and Banff. Her work is in the institutional collections of the Musée de la Photographie, Belgium; the Museet for Fotokunst, Denmark; the National Portrait Gallery of Canada; the Kamloops Art Gallery; the Winnipeg Art Gallery; the Art Gallery of Windsor; and the Art Gallery of Hamilton. She is represented in Canada by Jessica Bradley Art + Projects and Diane Farris Gallery. More information can be found at http://www.lisaklapstock.com. Shawn Micallef is the associate editor at Spacing magazine and co-founder of [murmur], the location-based mobile-phone documentary project. He writes about cities, culture, buildings, art, and whatever is interesting in various books, magazines, and newspapers. Stroll, his monograph of Toronto from a flaniêur's perspective, will be published by Coach House Press in 2010. Nick Mount teaches Canadian literature at the University of Toronto. He is the author of When Canadian Literature Moved to New York, which won the 2005 Gabrielle Roy Prize. John Parkinson is a senior lecturer in politics at the University of York, U.K., specializing in democratic theory and practice and theories of the policy process. His book, Deliberating in the Real World, was published by Oxford University Press in 2006, while his Democracy and Public Space project will result in another book with OUP in 2010. He has also published articles on the House of Lords, restorative justice, and referendums in New Zealand and Switzerland. Alberto Pérez-Gómez is the Bronfman Professor of Architectural History at McGill University. He has lectured extensively around the world and is the author of numerous articles published in major periodicals and books. He is also co-editor of a well-known series of books entitled Chora: Intervals in the Philosophy of Architecture. His book Architecture and the Crisis of Modern Science (1983) won the Alice Davis Hitchcock Award in 1984. Later books include the erotic narrative theory Polyphilo, or The Dark Forest Revisited (1992), Architectural Representation and the Perspective Hinge (co-authored with Louise Pelletier, 1997), and most recently, Built upon Love: Architectural Longing after Ethics and Aesthetics (2006). Lisa Robertson is a poet and critic, previously based in Vancouver and now living in Oakland, California. Her books of poetry include Debbie: An Epic, nominated for a Governor General's Award in 1997; The Weather, winner of the Relit Award in 2001; and Rousseau's Boat, winner of the bpNichol Chapbook Award in 2005. Her collection of essays relating to architecture, urban design, and contemporary art practice, Occasional Works and Seven Walks from the Office for Soft Architecture, was published in 2003. Robertson has held residencies at the University of Cambridge; the University of California, San Diego; Capilano College; The American University of Paris; and the University of California, Berkeley, and she is now artist in residence at California College of the Arts. Her current work is centring on urban ambient sound recording and composing; she is constructing a prosody of noise. Oren Safdie is a playwright-in-residence at La MaMa E.T.C. in New York and the interim artistic director of the Malibu Stage Company in Los Angeles, where Private Jokes, Public Places first debuted. Other plays include West Bank, UK, The Last Word, Jews & Jesus, Fiddler Sub-terrain, Smother, Broken Places, and La Compagnie, which he developed into a half-hour pilot for CBS. As a screenwriter, he scripted the films You Can Thank Me Later and Bittersweet. He has also written for Dwell and Metropolis magazines. His new play, The Bilbao Effect, will debut in 2009/2010. Russell Smith's most recent novel, Muriella Pent, was nominated for the Rogers Fiction Prize and the IMPAC Dublin Award. He writes a weekly column on culture for The Globe and Mail and speaks frequently on CBC Radio in English and French. His new novel, Girl Crazy, will be published by HarperCollins Canada in 2010. He lives in Toronto. Patrick Turmel is an assistant professor of philosophy at Université Laval in Quebec City. His main research interests are moral and political philosophy. He has published articles and book chapters on ethics and political philosophy and on issues pertaining to cities and justice. He is also co-editor of Penser les institutions (Presses de l'Université Laval), due out in 2010.
£33.95
Markus Wiener Publishing Inc Beauty in Arabic Culture
Book SynopsisAlthough beauty, in the pre-modern Arab world, was enjoyed and promoted almost everywhere, Islam does not possess a general theory on aesthetics or a systematic theory of the arts. This is a study of the Arabic discourse on beauty. The author had to search for her evidence in written statements from a wide variety of sources, such as the Qur'an, legal, religious and Sufi texts, chronicles, biographies, belle-lettres, literary criticism, and scientific, geographic and philosophical literature. The result is a compendium of references to beauty in chapters on the Religious Approach, Secular Beauty and Love, Music and Belle-Lettres, and the Visual Arts. This approach is informative and provocative. For the generalist, it provides comparative material for an understanding of the early Arab cultural context. For the specialist, it raises questions of sponsorship and purpose.
£71.25
Markus Wiener Publishing Inc Beauty in Arabic Culture
Book SynopsisAlthough beauty, in the pre-modern Arab world, was enjoyed and promoted almost everywhere, Islam does not possess a general theory on aesthetics or a systematic theory of the arts. This is a study of the Arabic discourse on beauty. The author had to search for her evidence in written statements from a wide variety of sources, such as the Qur'an, legal, religious and Sufi texts, chronicles, biographies, belle-lettres, literary criticism, and scientific, geographic and philosophical literature. The result is a compendium of references to beauty in chapters on the Religious Approach, Secular Beauty and Love, Music and Belle-Lettres, and the Visual Arts. This approach is informative and provocative. For the generalist, it provides comparative material for an understanding of the early Arab cultural context. For the specialist, it raises questions of sponsorship and purpose.
£24.95
Vernon Press Art, Theory and Practice in the Anthropocene
£64.05
Bloomsbury Publishing Plc When the Machine Made Art: The Troubled History of Computer Art
Book SynopsisConsidering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.Trade ReviewTaylor's 'troubled history of computer art' is subtle, complex, multi-layered and often paradoxical, so any attempt to summarize or synthesize its content fails to convey the scope and depth of what is covered ... I intend to champion Taylor’s book whenever the lament arises about why the art world takes no notice of mathematical art ... I will urge everyone I know who has an interest in using the computer in any significant way in his or her art practice to read Taylor’s book for the cautionary lessons it has to offer. -- Gary Greenfield, University of Richmond, USA * Journal of Mathematics and the Arts *Taylor recovers and reassembles the fractured history of "computer art" from 1963, when the term came into use, until 1989, when "digital art" and "new media" became the preferred terms […] Taylor’s approach is integrative. He reconstructs the history of computer art not by isolating it from its scientific and mathematical nature but by combining that context with the "art and technology" and conceptual art movements of the 1960s. Summing Up: Recommended. Graduate students and researchers/faculty. -- E. K. Mix, Butler University * CHOICE *How astonishing that the pioneers of computer, digital, algorithmic, programming, and mash-up art are largely unknown at the very moment when the computer, or more specifically its handheld, lap bound, or otherwise omnipresent progeny are transforming virtually every aspect of existence! I read this, fascinated by the continued relevance of the artists (and their disputes) and delighted to know that finally, with this publication, there exists a portrait of an evolving movement that has worked assiduously at the boundaries of the art world for fifty years. -- Hannah B Higgins, Professor of Art History, University of Illinois Chicago, USABy questioning the reasons for which art critics, artists and curators rejected computer-generated artefacts during the 1960s, 1970s and 1980s, Grant Taylor makes a significant contribution to the historiography of 20th century culture. -- Margit Rosen, Researcher and Curator, ZKM | Center for Art and Media Karlsruhe, GermanyAlthough computer-generated art was largely ignored by the art establishment in the 1960s and 70s, it's now viewed in a very different light. Grant Taylor's book provides an excellent - and much needed -overview of the beginnings of digital art and design. -- Douglas Dodds, Senior Curator, Victoria and Albert Museum, UKTable of ContentsIntroduction: Unorthodox Chapter 1: Future Crashes Chapter 2: Coded Aesthetics Chapter 3: Virtual Renaissance Chapter 4: Frontier Exploration Chapter 5: Critical Impact Epilogue: Aftermath Bibliography Index
£28.99
Echo Point Books & Media Concerning the Spiritual in Art
Book SynopsisPioneering and Exploring the Spiritual Revolution in Modern ArtIn the early 20th century, the pioneering and celebrated painter Wassily Kandinsky (1866-1944) wrote this groundbreaking work advocating a powerful role for spirituality in driving the creation of modern art. Voicing his own strong opinions as well as the philosophical passions of his peers, Kandinsky urged traditional artists to break free from the limiting restraints of the material world in their work. By faithfully using their own uninhibited thoughts and inner emotions for inspiration-essentially channeling the human spirit instead of representing material concerns-he believed that artists could transcend the norms of the time to reach new levels of abstract expression and aesthetic beauty. Likewise, he also challenged the viewing public to admire art with a fierce spiritual hunger. With insightful explorations of form and color theory, creative inspiration, psychology, religion, music, ethics, and even politics, Kandinsky makes a strong case for his artistic revolution. The movement he inspired with his theories played a pivotal role in the development of modern art, particularly in the growth and evolution of abstract painting. Featuring an enlightening introduction by the book''s translator, Michael T. H. Sadler, providing generational and cultural context for Kandinsky and his work, Concerning the Spiritual in Art gives testimony to the mind and creative expression of Kandinsky and other artists of his generation. This seminal and thought-provoking book exploring the heart of the artistic endeavor belongs in the library of every serious artist and student of modern art. This work is also available from Echo Point Books in a paperback edition; just look for ISBN 1635619068.
£18.52
Echo Point Books & Media, LLC Concerning the Spiritual in Art (Enhanced)
Book SynopsisPioneering and Exploring the Spiritual Revolution in Modern ArtIn the early 20th century, the pioneering and celebrated painter Wassily Kandinsky (1866-1944) wrote this groundbreaking work advocating a powerful role for spirituality in driving the creation of modern art. Voicing his own strong opinions as well as the philosophical passions of his peers, Kandinsky urged traditional artists to break free from the limiting restraints of the material world in their work. By faithfully using their own uninhibited thoughts and inner emotions for inspiration-essentially channeling the human spirit instead of representing material concerns-he believed that artists could transcend the norms of the time to reach new levels of abstract expression and aesthetic beauty. Likewise, he also challenged the viewing public to admire art with a fierce spiritual hunger. With insightful explorations of form and color theory, creative inspiration, psychology, religion, music, ethics, and even politics, Kandinsky makes a strong case for his artistic revolution. The movement he inspired with his theories played a pivotal role in the development of modern art, particularly in the growth and evolution of abstract painting. Featuring an enlightening introduction by the book''s translator, Michael T. H. Sadler, providing generational and cultural context for Kandinsky and his work, Concerning the Spiritual in Art gives testimony to the mind and creative expression of Kandinsky and other artists of his generation. This seminal and thought-provoking book exploring the heart of the artistic endeavor belongs in the library of every serious artist and student of modern art.This book is also available from Echo Point Books in hardcover, ISBN 1635618908.
£12.60
Echo Point Books & Media Painter's Guide to Color (Latest Edition)
£39.95
Semiotext (E) Social Practices
£27.09
Bloomsbury Publishing PLC Ugliness: The Non-beautiful in Art and Theory
Book SynopsisUgliness is very much alive in the history of art. From ritual invocations of mythic monsters to the scare tactics of the early twentieth-century avant-garde, from the cabinet of curiosities to the identity politics of today, the ugly has been every bit as active as the beautiful, and often much more of a reality - Why then has it been so neglected? This book seeks to remedy this oversight through both broad theoretical reflection and concrete case studies of ugliness in various historical and cultural contexts. The protagonists range from cooks to psychoanalysts, from war prostheses to plates of asparagus, on a world stage stretching from ancient Athens to Singapore today. Drawing across disciplinary and cultural boundaries, the writers illuminate why ugliness, associated over the millennia with negative categories ranging from sin and stupidity to triviality and boredom, remains central to art and cultural practice.Table of ContentsAndrei Pop and Mechtild Widrich, Rethinking Ugliness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Politics of Ugliness Gretchen E. Henderson, The Ugly Face Club: A Case Study in the Tangled Politics and Aesthetics of Deformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Suzannah Biernoff, The Face of War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brandon Taylor, Picasso and the Psychoanalysts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mechtild Widrich, The ‘Ugliness’ of the Avant-garde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Experience of Ugliness Edward Payne, Ribera’s Grotesque Heads: Between Anatomical Study and Cultural Curiosity . . . . . Frédérique Desbuissons, The Studio and the Kitchen: Culinary Ugliness as Pictorial Stigmatisation in Nineteenth-Century France . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kathryn Simpson, I’m Ugly Because You Hate Me: Ugliness and Negative Empathy in Oskar Kokoschka’s Early Self-Portraiture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adele Tan, From Political Travesties to Aesthetic Justice – the Ugly in Teo Eng Seng’s D Cells . . . . The Theory of Ugliness Andrei Pop, Can Beauty and Ugliness Coexist? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kassandra Nakas, Putrefied, Deliquescent, Amorphous: The ‘Liquefying’ Rhetoric of Ugliness . . . . . Odeta Žukauskien?, Orderly Ugliness, Anamorphosis and Visionary Worlds. Jurgis Baltrušaitis’ Contribution to Art History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Three Definitions of Ugliness (1765, 1843, 1882) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
£30.43
Bloomsbury Publishing PLC Crossmappings: On Visual Culture
Book SynopsisThe great, influential cultural critic, Elisabeth Bronfen, sets out in this book a conversation between literature, cinema and visual culture. The crossmappings facilitated in and between these essays address the cultural survival of image formulas involving portraiture and the uncanny relation between the body and its visual representability, the gendering of war, death and the fragility of life, as well as sovereignty and political power. Each chapter tracks transformations that occur as aesthetic figurations travel from one historical moment to another, but also from one medium to another. Many prominent artists are discussed during these journeys into the cultural imaginary, include Degas, Francesca Woodman, Cindy Sherman, Paul McCarthy, Eva Hesse, Louise Bourgeois, Wagner, Picasso, and Shakespeare, as well as classic Hollywood's film noir and melodrama and the TV series, The Wire and House of Cards.Trade ReviewBrilliant essays on the female nude, on images not just of chess games but of chess queens in recent film and television ... full of marvelous and disturbing ideas ... Summing Up: Recommended. * CHOICE *This is a very important, relevant book for today’s world. Bronfen is one of the very rare scholars who, in accessible prose, offers in-depth analyses of the interactions between “high” art and “popular” visual culture, focusing on the socio-political relevance of that crossover. Analysing literature, cinema, television series and other works of popular fiction, from present to past and back, Bronfen is a brilliant “image-thinker”, and so makes a strong case for the urgent necessity of the Humanities in today’s world. * Mieke Bal, Independent scholar affiliated with the Amsterdam School of Cultural Analysis (ASCA) and video artist *Table of ContentsIntroduction. Crossmappings. Visual Readings as a Critical Intervention in the Cultural Imaginary Part I. Travelling Image Formulas Chapter 1. Facing Defacement. Degas' Portraits of Women Chapter 2. Naked Touch. Disfiguration, Recognition and the Female Nude Chapter 3. Leaving an Imprint. Francesca Woodman's Photographic tableaux vivants Chapter 4. Pop Cinema. Hollywood's Critical Engagement with America's Culture of Consumption Chapter 5. Hitler Goes Pop. Totalitarianism, Avant-Garde Aesthetics and Hollywood Entertainment Chapter 6. Simulations of the Real. Paul McCarthy's Performance Disasters Chapter 7. Wagner's Isolde in Hollywood Chapter 8. Shakespeare's Wire Chapter 9. Queen of Chess. On Serial Reading Part II: Gendering the Uncanny, Imaging Death Chapter 10. The Horror of the Familiar. Freud's Thoughts on Femininity and the Uncanny Chapter 11. Gendering Curiosity. The Double Games of Siri Hustvedt, Paul Auster and Sophie Calle Chapter 12. The Other Self of the Imagination: Cindy Sherman's Hysterical Performance Chapter 13. Eva Hesse's Spectral Bride and her Uncanny Double Chapter 14. Wounds of Wonder. Diane Arbus, Nan Goldin, Nabuyoshi Araki Chapter 15. The Fragility of the Quotidien. Eija-Liisa Ahtila's Work with Death Chapter 16. Picasso's War Women Chapter 17. Contending with the Father. Louise Bourgeois and her Aesthetics of Reparation Notes Index
£95.00
Billson International Ltd The (Im)Possibilities of Art Archives: Theory and Experience in/from Asia: 艺术档案库手册
£33.29
Bloomsbury Publishing PLC Aftershock: The Ethics of Contemporary Transgressive Art
Book SynopsisAccused by the tabloid press of setting out to 'shock', controversial artworks are vigorously defended by art critics, who frequently downplay their disturbing emotional impact. This is the first book to subject contemporary art to a rigorous ethical exploration. It argues that, in favouring conceptual rather than emotional reactions, commentators actually fail to engage with the work they promote. Scrutinising notorious works by artists including Damien Hirst, Jake and Dinos Chapman, Richard Billingham, Marc Quinn, Sally Mann, Marcus Harvey, Hans Bellmer, Paul McCarthy, Tierney Gearon, and Tracey Emin, "Aftershock" insists on the importance of visceral, emotional and 'ethical' responses. Far from clouding our judgement, Cashell argues, shame, outrage or revulsion are the very emotions that such works set out to evoke. While also questioning the catch-all notion of 'transgression', this illuminating and controversial book neither jumps indiscriminately to the defence of shocking artworks nor dismisses them out of hand.Trade Review'Kieran Cashell discusses artists who use everything from soiled bed linens to blood to dead sharks in their works. Drawing on an impressive array of philosophical ideas, Cashell helps viewers tackle the messy details of art by Damien Hirst, Orlan, Marc Quinn, Tracy Emin, and more, as he provides a probing and subtle defense of the moral value of such recent 'transgressive' art.' - Cynthia A. Freeland Professor and Chair, Department of Philosophy University of Houston, TexasTable of ContentsCONTENTS Illustrations Acknowledgements Introduction The Incompatibility of Aesthetics and Contemporary Art Transgression: the War against Disinterestedness The Ethics of Transgressive Art 1 Everyone Hates a Tourist The Ethical Analysis of Contemporary Art Disinterestedness and Cultural Tourism The Ethical Evaluation of Art: Autonomism versus Moralism A Difficult Case: Marc Quinn and Alison Lapper Transgressive Art Meets the Autonomist-Moralist Model Quinn and Lapper Revisited: A Contextualist Analysis Conclusion 2 Carte Blanche Marcus Harvey’s Myra Preliminary Approaches to the Ethical Analysis of Myra ‘Suffer Little Children’: The Facts of the Case Myra: Portrait of a Serial Killer Postmodernism and the Absence of the Referent Thesis Contextualist Ethical Analysis of Myra Myra and Merited Response Theory Conclusion 3 Atrocity Exhibition Aesthetic Defences of the Work of Jake & Dinos Chapman The Canonic Defence and the Chapmans’ Disasters of War The Transgressive Defence of Transgressive Art Hans Bellmer, Bataille and Authentic Transgression The Trivial Pursuit of Psychoanalysis Evaluation of the Aesthetic Defences of Transgressive Art Acknowledging the Immorality of the Chapmans’ Work Contextual Ethical Evaluation of Zygotic Acceleration Conclusion 4 Fearless Speech Tracey Emin’s Ethics of the Self ‘With Myself Always Myself Never Forgetting’: The Structure of Ethical Subjectivity Exposure without Reserve: Emotional Response and its Moral Significance Shame: An Existential Analysis Concluding Ethical Evaluation: Tracey Emin’s Fearless Speech 5 Horrorshow The Transvaluation of Morality in the work of Damien Hirst Obscene Objects of Pleasurable Fascination Non-Human Animals and Ethical Inclusion Attending to the Other of the Animal: Art and the Ethics of Care Exquisite Corpse: Death and the Sublime Cognitive Immoralism The Artistic Transvaluation of Morality Aftershock: Tragic Sympathy and Meta-Ethical Significance Conclusion Bibliography Index
£30.43
Bloomsbury Publishing PLC Seeing the Invisible: On Kandinsky
Book SynopsisThis book provides a unique, philosophical interpretation of a significant twentieth-century painter - Wassily Kandinsky. Michel Henry was one of the leading French philosophers of the twentieth century. His numerous works of philosophy are all organized around the theme of life. In contrast to the scientific understanding of life as a biological process, Henry's philosophy develops a conception of life as an immediate feeling of one's own living."Seeing the Invisible" marks Henry's most sustained engagement in the field of aesthetics. Through an analysis of the life and works of Wassily Kandinsky, Henry uncovers the philosophical significance of Kandinsky's revolution in painting: that abstract art reveals the invisible essence of life. Henry shows that Kandinsky separates colour and line from the constraints of visible form and, in so doing, conveys the invisible intensity of life - a force rooted in the corporeity and pathos of all living beings. More than just a study of art history, this book presents Kandinsky as an artist who is engaged in the project of painting the invisible and thus offers invaluable methodological clues for Henry's own phenomenology of the invisible.Trade Review"Michel Henry's work consistently re-imagines the means through which life incarnates or makes manifest to itself the very essence of its being. In Seeing the Invisible Henry extends his philosophy, as material phenomenology, to the aesthetic, reappraising abstract art in terms of affectivity, emotional life and the essential communication that takes place between the community and the artwork at the level of sensibility. Scott Davidson's clear and timely translation provides the reader with both a revolutionary take on twentieth century art and a gateway into the thought of one of the leading French philosophers of the past fifty years." - Dr Michael O'Sullivan, The Chinese University of Hong KongTable of ContentsTranslator's Preface; Introduction; Internal/External: The Invisible and the Visible; The Meaning of 'Abstract' in the Expression 'Abstract Painting'; Form; Pure Pictorial Form; Abstract Form: The Theory of Elements; The Disclosure of Pictoriality; Point; Line; The Picture Plane; The Unity of the Elements; Invisible Colors; Forms and Colors; Difficulties Concerning the Unity of Colors and Forms; Composition; Monumental Art; Music and Painting; The Essence of Art; All Painting is Abstract; Art and the Cosmos; Index.
£130.00
Bloomsbury Publishing PLC Seeing the Invisible: On Kandinsky
Book SynopsisThis work provides a unique, philosophical interpretation of a significant twentieth-century painter - Wassily Kandinsky. Michel Henry was one of the leading French philosophers of the twentieth century. His numerous works of philosophy are all organized around the theme of life. In contrast to the scientific understanding of life as a biological process, Henry's philosophy develops a conception of life as an immediate feeling of one's own living. "Seeing the Invisible" marks Henry's most sustained engagement in the field of aesthetics. Through an analysis of the life and works of Wassily Kandinsky, Henry uncovers the philosophical significance of Kandinsky's revolution in painting: that abstract art reveals the invisible essence of life.Henry shows that Kandinsky separates colour and line from the constraints of visible form and, in so doing, conveys the invisible intensity of life - a force rooted in the corporeity and pathos of all living beings. More than just a study of art history, this book presents Kandinsky as an artist who is engaged in the project of painting the invisible and thus offers invaluable methodological clues for Henry's own phenomenology of the invisible.Trade Review"Michel Henry's work consistently re-imagines the means through which life incarnates or makes manifest to itself the very essence of its being. In Seeing the Invisible Henry extends his philosophy, as material phenomenology, to the aesthetic, reappraising abstract art in terms of affectivity, emotional life and the essential communication that takes place between the community and the artwork at the level of sensibility. Scott Davidson's clear and timely translation provides the reader with both a revolutionary take on twentieth century art and a gateway into the thought of one of the leading French philosophers of the past fifty years." - Dr Michael O'Sullivan, The Chinese University of Hong KongTable of ContentsTranslator's Preface; Introduction; Internal/External: The Invisible and the Visible; The Meaning of 'Abstract' in the Expression 'Abstract Painting'; Form; Pure Pictorial Form; Abstract Form: The Theory of Elements; The Disclosure of Pictoriality; Point; Line; The Picture Plane; The Unity of the Elements; Invisible Colors; Forms and Colors; Difficulties Concerning the Unity of Colors and Forms; Composition; Monumental Art; Music and Painting; The Essence of Art; All Painting is Abstract; Art and the Cosmos; Index.
£30.43
Bloomsbury Publishing PLC Writing Design: Words and Objects
Book SynopsisHow do we learn about the objects that surround us? As well as gathering sensory information by viewing and using objects, we also learn about objects through the written and spoken word - from shop labels to friends' recommendations and from magazines to patents. But, even as design commentators have become increasingly preoccupied with issues of mediation, the intersection of design and language remains under-explored.Writing Design provides a unique examination of what is at stake when we convert the material properties of designed goods into verbal or textual description. Issues discussed include the role of text in informing design consumption, designing with and through language, and the challenges and opportunities raised by design without language. Bringing together a wide range of scholars and practitioners, Writing Design reveals the difficulties, ethics and politics of writing about design.Trade ReviewWriting Design is long overdue. For well over a century, critics, historians, theorists and designers themselves have used a multitude of words to describe, suggest, denote, evoke and critique that evasive concept of 'design'. Now, for the first time, a group of scholars have set out to reflect on that long-standing practice and to make us think more deeply about the complex relationship that exists between words and things. * Professor Penny Sparke, Kingston University, London, UK *This volume promises to become essential reading for anyone interested in the historical and contemporary circumstances by which words describe design, and design defines language. From a range of international perspectives, the book's contributors show how the interrelationship between language and design is never passive, but always subject to mediation, negotiation, and at times contestation. * Jeremy Aynsley, Professor of History of Design, Royal College of Art, UK *Writing Design will be a pivotal book on the fast-filling Design Criticism bookshelf. Design Criticism manifests variously as a journalistic practice, a mode of political resistance, a literary genre, an interpretive tool - and now as an academic discipline. The growing number of pedagogical initiatives in Design Criticism demands a literature that supports and challenges these academic endeavours with new research, provocative thinking and thoughtful analysis. Writing Design collects important scholarship - representing a spectrum of approaches, viewpoints, and geographical origins - that explores the rich relationship between design and language and draws attention to the written word as an artefact, worthy of as much scrutiny as the designed entity it describes. As such, this carefully selected compendium of essays helps to stake out the territory, and provides students with a broad view of the field, its key debates, themes and issues, as well as with inspiration for their own research, and case studies for close analysis. I look forward to the Design Criticism bookshelf soon groaning under the weight of many more anthologies, theoretical treatises, narrative histories and polemical tracts of the same calibre as this pioneering volume. * Alice Twemlow, Chair, MFA Design Criticism Department School of Visual Arts, USA *Table of ContentsAcknowledgementsGeneral Introduction, Grace Lees-MaffeiPART 1: RIGHTING DESIGN - ON THE REFORMING ROLE OF DESIGN CRITICISMIntroduction1. ‘Writing about Stuff': The Peril and Promise of Design History and Criticism, Jeffrey L. Meikle, University of Texas at Austin, USA2. Design Criticism and Social Responsibility: The Flemish Design Critic K.-N. Elno (1920-1993), Fredie Floré, Ghent University, Belgium3. The Metamorphosis of a Norwegian Design Magazine: Nye Bonytt, 1968-1971, Kjetil Fallan, University of Oslo, Norway4. Writing Contemporary Design into History, Stephen Hayward, University of the Arts London, UKPART 2: MEDIATIONS - BETWEEN DESIGN AND CONSUMPTIONIntroduction5. Thinking in Metaphor: Figurative Conceptualising in John Evelyn's Diary and John Ruskin's Stones of Venice, Anne Hultzsch, University College London, UK6. Regulating the Body in Army Manuals and Trade Guides: The Design of the First World War Khaki Service Dress, Jane Tynan, University of the Arts London, UK7. Vitaglass and the Discourse of Modern Culture, John Stanislav Sadar, Monash University, Australia8. Lewis Mumford's Lever House: Writing a House of Glass, Ann Sobiech Munson, Iowa State University, USA PART 3: DESIGNING WITH AND THROUGH LANGUAGEIntroduction9. Judging a Book by its Cover: or Does Modernist Form Follow Function?, Polly Cantlon and Alice Lo, both University of Waikato, New Zealand 10. Reading Details: Caruso St John and the Poetic Intent of Construction Documents, Mhairi McVicar, Welsh School of Architecture, UK11. Applying Oral Sources: Design Historian, Practitioner and Participant:, Chae Ho Lee, University of Hawai‘i at Mânoa, USA12. Fluid Typography: Construction, Metamorphosis and Revelation, Barbara Brownie, University of Hertfordshire, UK PART 4: SHOWING AS TELLING - ON DESIGN BEYOND TEXTIntroduction13. Showing Architecture Through Exhibitions: A Taxonomical Analysis Applied to the Case of the First Venice Architecture Biennale (1980), Léa-Catherine Szacka, University College London, UK14. Design as Language without Words: AG Fronzoni, Gabriele Oropallo, University College London, UK 15. On the Legal Protection of Design: Things and Words about Them, Stina Teilmann-Lock, Danish Design School, Denmark 16. Text-led and Object-led Research Paradigms: Doing Without Words, Michael Biggs and Daniela Büchler, both University of Hertfordshire, UKContributorsList of IllustrationsSelect BibliographyIndex
£34.99
Bloomsbury Publishing PLC Art Beyond Representation: The Performative Power of the Image
Book SynopsisRefuting the assumption that art is a representational practice, this book engages with the work of Heidegger, Deleuze and Guattari, C.S. Pierce and Judith Butler. It argues for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and Francis Bacon, the transubstantiation of the Catholic sacrament, and Wilde's novel "The Picture of Dorian Gray", she challenges the metaphor of light as entertainment. She suggests that too much "light" may in fact reveal nothing. Finally, she asks: how does an "embodied" practice fare within the culture of conceptual art?
£30.43
Crescent Moon Publishing Wild Zones: Pornography, Art and Feminism
£18.57
Common Ground Publishing Teaching Art in a Postmodern World: Theories, Teacher Reflections and Interpretive Frameworks
£42.30
Mute Publishing Ltd Reproducing Autonomy: Work, Money, Crisis and Contemporary Art: 2016
£19.32