Search results for ""Intellect""

Explores consent as a principle to guide practices and policies inuniversity level performing arts education. Describes structural powerdynamics present in educational spaces and tools for defusing them. Adapts the protocols foundational to intimacytraining to apply to classroom andrehearsal spaces across performing arts. 4 col., 4 b&w illus.

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The Architect's Dream draws on a broad range of subject areas, from philosophy to film to mathematics and economics, to show that the path to meaningful architecture practice is always based in a deep commitment to the idea that architecture is first and foremost an expression of the creative mind. 63 b/w illus.

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KinoSputniks closely analyse some key films from the history of Russian and Soviet cinema. Written by international experts in the field, they are intended for film enthusiasts and students, combining scholarship with an accessible style of writing. This KinoSputnik on Andrei Tarkovsky's debut feature Ivan's Childhood examines the production, context and reception of the film, whilst offering a detailed reading of its key themes. Through a close examination of its intricate narrative structure, unique stylistic approach and deep philosophical underpinnings, this KinoSputnik provides a thorough analysis of a truly remarkable debut film, from an artist now considered a towering figure of Russian culture. Primary readership will be among film studies students and film enthusiasts. A list of all books in the series is here on the Intellect website on the series page KinoSputnik

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Revolve:R was initiated in 2011 by Sam Treadaway and Ricarda Vidal as a multidisciplinary and international collaboration. The project explores the transmission of ideas through collaborative forms of communication ranging from the physical and tactile (such as the sharing of original artworks via the postal service) to the digital and intangible (which includes a parallel interplay online). Besides visual artworks, Revolve:R includes poetry, film, soundscapes and music. The complete work of each Revolve:R edition is presented as a limited-edition bookwork. Revolve:R: edition three is available through Intellect. Revolve:R: edition three is the result of a two-year-long collaboration, between 2016 and 2018, in which artists, poets, and musicians from around the UK, USA, Africa and Continental Europe created artworks in reply and response to one another. During this time many of the artworks featured have physically travelled many thousands of miles before coming together in this publication. Edition three is a continuation of editions one and two (Arrow Bookworks, 2013 and 2015) which explored concepts relating to chaos theory, chance and synchronicity. The first artwork-page of Revolve:R, edition three (page 217) references the final artwork sequence from Revolve:R, edition two (ending on page 216). Throughout the evolution of this third edition the editors have continued the development of the initial ideas and working processes that formed the basis and structure of the original Revolve:R project and have further reflected upon the nature of collaboration. In doing so their awareness and consideration of certain parallels and connections between the artworks has developed their insight into the act of co-creation and the phenomenon of collective consciousness. Each Revolve:R edition is formed of six rounds, or Revolves (effectively forming six chapters within the book), which follow the same pattern. A single 2D two-sided artwork of 21cm² is sent by post, to a number of invited artists with the request that they respond with an artwork of their own by a specific date. Thus the initial artwork sets in motion a multitude of alternative creative responses reflecting the recipients’ various ways of reading, interpreting and responding. Revolve:R: edition three (Arrow Bookworks and Intellect, 2019) follows Revolve:R, edition one (Arrow Bookworks, 2013) and Revolve:R, edition two (Arrow Bookworks, 2015). All three Revolve:R editions also function as catalogues, and artworks are available to purchase as high quality limited edition prints. Further information about the Revolve:R project, including how to purchase the prints, can be found here: www.revolve-r.com Revolve:R: edition three is a powerful and beautiful example of the power of collaborative practice, a vehicle for new artistic dialogue, and an artwork in its own right.

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Anne Bean: Self Etc. is the first major monograph about the performance work of artist Anne Bean, a noted international figure who has been working actively since the 1960s. Part of the Intellect Live series, co-published with the Live Art Development Agency, this book includes extensive visual documentation of Bean’s performances, critical essays by leading scholars of art and performance and a series of new visual essays by the artist. Additional contributions include documentation of collaborations with influential artists, such as Bean’s Drawn Conversations, made at Franklin Furnace, New York, in collaboration with Harry Kipper, Karen Finley, Kim Jones and Fiona Templeton; and TAPS: Improvisations with Paul Burwell, involving numerous artists, including Paul McCarthy, Steven Berkoff, Evan Parker, Brian Catling, Carlyle Reedy, Rose English, David Toop, Lol Coxhill, Jacky Lansley and Maggie Nicols. Lavishly illustrated and including previously unseen images, Anne Bean explores and expands the nature, form and contexts that artistic collaboration can take.

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KinoSputniks closely analyse some key films from the history of Russian and Soviet cinema. Written by international experts in the field, they are intended for film enthusiasts and students, combining scholarship with an accessible style of writing. This KinoSputnik about Fedor Bondarchuk's megahit Stalingrad (2013) examines the production, context and reception of the film, whilst offering a detailed reading of its key themes. Fedor Bondarchuk’s 2013 blockbuster film Stalingrad shattered box-office records and dazzled viewers with its use of special effects, enhanced by its 3D IMAX format. The film transported viewers back to 1942 and the bloody battle that would turn the tide of the Second World War. This new study situates the film within the context of ongoing debates about the meanings of the Second World War in Russia and previous films about the Battle of Stalingrad. Primary readership will be among film studies students and film enthusiasts, but will also be of interest to anyone researching or studying the Battle of Stalingrad and the course of the Second World War. A list of all books in the series is here on the Intellect website on the series page KinoSputnik

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The aim of the Watching series is to draw attention to some of the very interesting items around us, things that perhaps we don't notice as much as we might. The first was Bridge Watching, and when this was put 'on the Net' it produced, to the surprise of the author, such a pleasant flood of e-mail that another was written, called Water Watching. This, too, was kindly received. So it was tempting to continue with the theme. Some people find pleasure in taking photographs and some like to sketch or paint, because tunnel mouths are often set in lovely countryside. A train emerging from a hole in the side of a hill makes a good picture, in any weather conditions, whether as a photograph or a painting. On the other hand some people like to just look, without recording the sight. Whichever may be your choice, I wish you happy tunnel-watching. There are other reasons for tunneling, such as providing an approach for men and materials, to get at something not otherwise accessible from the surface, escaping from a prison, robbing a bank, or following a seam of mineral deposits, perhaps to carry water or other liquids from one place to another. As you extend your knowledge during tunnel-watching sessions I wish you well. You may also be drawn to some of the literature on the subject, either easy introductory material like this or more technical treatment, leading you along fascinating lines of learning. Go forth and enjoy this free entertainment.

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Using Ireland as a model, Art Education and Contemporary Culture offers a comprehensive treatment of art education in primary and secondary schools, institutions of higher education, cultural institutions, and the diverse communities they serve. Gary Granville has brought together a diverse group of eminent art educators who, together, lay out the opportunities and challenges of art practice while paying close attention to relevant national policy. Rounding out the discussion are essays that locate the challenges and innovations of art education from in international perspective.

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In Writing Belonging at the Millennium, Emily Potter critically considers the long-standing settler-colonial pursuit of belonging manifested through an obsession with firm and stable ground. This pursuit continues across the field of the postcolonial nation today; the recognition of colonization’s destructive impacts on humans and environments troublingly generates a renewed desire to secure non-indigenous belonging. Focusing on the crucial role that Australia’s contemporary literature plays in shaping ideas of place and its inhabitation, Potter tracks non-indigenous belonging claims through a range of fiction and non-fiction texts to examine how settler-colonial anxieties about belonging intersect with intensifying environmental challenges. Significantly, she proposes that new understandings of unsettled and uncertain non-indigenous belonging may actually be fruitful context for decolonizing relations with place – something that is imperative in a time of heightened global environmental crisis.

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Bringing together contributors from dance, theatre, visual studies and art history, Perform, Repeat, Record addresses the conundrum of how live art is positioned within history. Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media and text. These multiple occurrences and iterations offer new critical possibilities for thinking and writing the histories of performance. Among the artists, theorists and historians who contributed to this volume are Marina Abramovic, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton and Jean-Luc Nancy.

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Atomic postcards played an important role in creating and disseminating a public image of nuclear power. Presenting small-scale images of test explosions, power plants, fallout shelters, and long-range missiles, the cards were produced for mass audiences in China, the United States, the Soviet Union, and Japan, and they link the multilayered geographies of Atomic Age nationalism and tourism. From the unfailingly cheery slogans—“Greetings from Los Alamos”—to blithe, handwritten notes and no-irony-intended “Pray for Peace” postmarks, these postcards mailed from the edge of danger nonetheless maintain the upbeat language of their medium. With 150 reproductions of cards and handwritten messages dating from the 1945 bombing of Hiroshima and Nagasaki to the end of the Cold War, Atomic Postcards offers a fascinating glimpse of a time when the end of the world seemed close at hand.

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Multimodality is of increasing relevance to dailylife. Comics are a unique and informative site tostudy this concept, as they rely on complexinteractions between word and image. Thiscollection brings together leading internationalresearch, developing comics theoryand speaking to additional media and disciplines. 53 b&w and 6 col. illus.

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This collection considers how Canadian art educatorsare engaging with a new range of approaches tomuseum education, and why educators are responding to 21st century challenges in ways thatare unique to Canada. Organized into threesections, this collection reconceptualizesmuseums to consider accessibility, differences inlived experiences, and how practices createimpactful change. With the overarching concept ofrelationality between art museums andinterdisciplinary perspectives, authors considermethodological, philosophical, experiential andaesthetic forms of inquiry in regional museumcontexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints withpractice-based projects in museums, articulatinghow museums are shifting, and why museums areevolving as sites that mediate different andmultiple knowledges for the future. Informed bysocial justice perspectives, and as catalysts forpublic scholarship, each chapter is passionate in addressing the mobilization

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Explores cities of exile from different perspectives and presents different methods and sources for exile and urban studies. The essays are written by internationally recognized scholars, and contain a wide range of themes including mapping, oral history, queerness, photography. This book will make a significant contribution to the theory and methodology of research on historical exile, cities and modernities, as well as present multidisciplinary exile research from an urban perspective. With a blend of case studies, and theoretical approaches, it interweaves histories of modernism and exile in different urban environments and focuses on historical dislocations in the first half of the twentieth century, when artistic and urban movements constituted themselves in global exchange. Although this book takes a historical perspective, it is written with an awareness of current flight movements and will make a significant contribution to the theory and methodology of research on exile. The knowledge of previous historical exile experiences is important for the understanding of contemporary flight movements: after all, these are not singular phenomena. For migration movements in the first half of the 20th century and for those of today, it is equally possible to speak of urban centres of attraction for refugees: Today, Berlin is a European metropolis of exile; in the 1930s and 1940s, Paris, Prague, London, New York, Istanbul and Shanghai were destinations for refugees. With contributions from Maddalena Alvi, Ekaterina Aygün, Claudia Cendales Paredes, Julia Eichenberg, Margit Franz, Nils Grosch, Mareike Hetschold, Louis Kaplan, Laura Karp Lugo, Katya Knyazeva, Merve Köksal, Rachel Lee, Chris McConville, Anna Messner, Alexis Nuselovici, Robert Pascoe, Valentina Pino Reyes, Helene Roth, Valeria Sánchez Michel, Marine Schütz, Seza Sinanlar Uslu, Felicitas Söhner, Mareike Schwarz, Marina Sorokina, Xin Tong, Diana Wechsler, Jessica Williams Stark and Federico Vitelli.

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The long-established dialogue between architecture and film offers an interdisciplinary platform for a critical examination of spaces of in-between. Apart from architecture informing scenography and cities serving as backdrops to the moving image, films have actively participated in shaping the public opinion about architecture and its allied disciplines. While architecture and design may not necessarily be central themes in a film, their spatial contextualization of the narrative informs cinematic productions. Screen, Space, and the In-Between looks at both the filmic imagination/representation of architectural in-betweenness, as well as the in-between spaces within the inherent architectural structure of filmic expression. On the one hand, cinematic production serves as a site to project utopian fantasies of the built environment, and on the other hand, the processes, tools, and methods involved in both architecture and film, function as mediators between abstract ideation and its materialized manifestation. The book interrogates the filmic creation of spatial imaginaries through the anthropological lens, especially as the disciplines in the built environment react to the liminal spaces of the cinematic. It adopts cinematic experiences of the built environment as a vantage point to reframe ongoing theoretical debates about liminal spaces. Foreword by Mark Foster Gage Contributors: Giuliana Bruno, Beatriz Colomina, James F. Kerestes, Graham Harman, Ferda Kolatan, Juhani Pallasmaa, Eva Perez De Vega, Mehmet Sahinler, Patrik Schumacher, Maria Sieira, Alican Taylan, Vahid Vahdat, Jason Vigneri-Beane, Jon Yoder, Michael Young

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An in-depth regional discussion of heavy metal music, Heavy Metal Music in Argentina explores metal music as a catalyst for social change and site for engaging political reflection. Originally published in Spanish and sold locally in Argentina, this is the first time the work has been available in English. Edited by leading researchers, this collection addresses the music’s rituals, circulations, cultural products, lyrics and allows readers to rethink the place of heavy metal within Argentinean politics and economics. Exclusively written by members of the Group for Interdisciplinary Research on Argentinian Heavy Metal (GIIHMA) in a communal approach to scholarship, the book echoes the working-class voices that marked early post-dictatorship metal music in Argentina. This is the first collection of essays on Argentine metal music. It has opened up research channels between different universities in the country while also engaging a non-academic audience, and widening the potential market for the book. The book makes an interdisciplinary examination of a complex and fascinating object: it allows for the examination, discussion and analysis of its nationalist postulates, relationship with the Creole culture (for example, with nineteenth-century ‘gauchesca’ literature), indigenism, and with the political processes of contemporary Argentina. Metal Music Studies, as an academic area of inquiry, has focused mostly on the music’s cultural components in Europe and the United States. The few books that have addressed metal music as a global phenomenon, have severely neglected the inclusion of Latin American countries. Argentina, with the largest and oldest metal scene in the region, has also been neglected in the existing literature. There is a growing interest in this area, as demonstrated by the emergence of documentary film on metal music in Latin America. The book has potential use as a resource on courses in several disciplines including sociology, cultural studies, musicology, ethnomusicology, sociology and Latin American studies. It will also be of interest to the more general readers with an interest in the musical genre.

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Distillation of Sound focuses on the original music of Jamaica and how, through dub reggae, Jamaican culture was expanded and shifted. It will further the discussion on dub music, its importance to Jamaican culture, and its influence on the rest of the world. Dub music in Jamaica started in the early 1970s and by the end of the decade had influenced an entire population. The music began to use the rhythm track of a song as a song itself and spread quickly throughout the sound systems of the island. The importance of dub music and its influence on the music world frames the discussions in this new book. How dub travelled and distilled to three places in the world is covered in chapters focussing on the rise and spread of dub in New York City, in England and in Japan. Abbey discusses the separation between dub as a product and dub as an act of the engineer. Codifying these two elements, and tracing them, will allow for a more definitive approach to the culture and music of dub. To define it, and its surrounding elements, five of the first albums produced in the genre are discussed in three parameters that help to define and set up the culture of dub music. The albums discussed are Java, Java, Java, Java (Impact All Stars), Aquarius Dub (Herman Chin Loy), Blackboard Jungle Dub (Lee ‘Scratch’ Perry), The Message Dubwise (Prince Buster), King Tubbys Meets Rockers Uptown (Augustus Pablo). From the Preface: ‘Jamaican music has always been about creating with what is at hand. Taking what is around you and making it into something great is the key to dub and Jamaican culture. This attitude is what this project is about. There is not enough written on the music that has inspired and influenced so many people around the world and this is an addition to the conversation. Dub music fixates on the engineer as a musician and, in doing so, allows for the creator to interact with echnology. Through this, the mixing board and other electronic elements become musical instruments. Now, these technologies are dominant in contemporary music and allow for people to easily create in their own homes. Without the engineers and musicians in the following work, these changes and shifts in technology and music would not have occurred. Dub is also a refiguring of already existing music. What this demonstrates is that music is ever evolving and can be shifted through technology. It also suggests that recorded music can always be modified and expanded upon. In our contemporary world, this modification is seen every day online and in people’s daily lives. Dub created a way to view these changes through music. The influence of technology in the development of culture is the key to this work and to our development in society. How technology can be modified, changed, and evolved through the interaction of the engineer is the focus of this project. This work will further the importance of dub music and culture in our society. The definition and distinction between version and dub is also an important element in the following work. Jamaican music needs to be discussed more for its influence and creative force in the entirety of the music world. The author is a professional musician with the groups J. Navarro & the Traitors, Detroit Riddim Crew, and 1592 and a producer of dub, reggae and ska, and a professor of English and literature at Oakland Community College in Michigan, USA. Genuine popular and academic appeal. Will appeal to students and scholars of music and Jamaican culture – and to academic libraries. Has genuine popular appeal to those with an interest in Jamaican culture and music.

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Professional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways. Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes. The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice. The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses. With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims. Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process. Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.

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The first in the Media-Life-Universe trilogy, this volume explores a transdisciplinary notion of media and technology, exploring media as technology, with special attention to its material, historical and ecological ramifications. The authors reconceptualize media from environmental, ecological and systems approaches, drawing not only on media and communication studies, but also philosophy, sociology, political science, biology, art, computer science, information studies and other disciplines. Featuring a group of internationally known scholars, this collection explores evolving definitions of media and how media technologies are transforming theory and practice. As the current media includes a wider and wider range of concepts, products, services and institutions, the definition of media continues to be in a state of flux. What are media today? How is media studies evolving? How have technologies transformed communication and media theory, and informed praxis? What are some of the futures of media? The collection challenges traditional notions of media, as well as concepts such as freedom of expression, audience empowerment and participatory media, and explores emergent media including transmedia, virtual reality, online games, metatechnology, remediation and makerspaces. This is the first volume in the MEDIA • LIFE • UNIVERSE Trilogy. LIFE: A Transdisciplinary Inquiry 9781789382655 follows and builds upon this 2021 collection.

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This new and original book is a creative practice ethnography, which navigates a spectrum where at one end the author works closely with socially engaged artists as part of her ethnographic research, and at the other she tries to find a critical distance to write about their art projects and the institutional structures that support their work, such as art schools and conferences. Artists increasingly find themselves working in participatory settings where skills in social engagement are as essential as their creative skills. The author was involved in the field of social practices from its early stages and stayed engaged with the primary movers in the field for nearly two decades as a witness, participant and critical observer. Her writing evokes the people and places she discusses, and her writing style is personal and accessible. Over the course of the book, readers are introduced to artists and their work, and to the key debates and issues facing this fast-growing and emergent field. The author navigates the contradictions and paradoxes of this field of practice through description and analysis and, importantly, gives voice to the artists who are working to make art relevant in times of social and political uncertainty. The problems addressed by social practices, as well as their contradictions, very much reflect our troubled political global moment. This book is a significant contribution to the field – few people have followed the development of social practices for as long as Coombs, and her dual perspective as an art critic and anthropologist make her ideally placed to describe and evaluate the institutions and practices. While there are many books already in this growing field, the experimental and intensely personal nature of this book sets it apart. It could be a useful teaching tool to generate debate around the tensions and paradoxes inherent in the field of social practices and politically engaged art. Students will appreciate the author’s attempt to convey what it was really like to be there at certain key events and insights gained from direct conversations with the artists, curators and writers shaping the field. Relevant to academics working in, and students studying, art and social practice, community arts programmes, contemporary anthropology, cultural historians and those with an interest in the sociology of art, protest or activism. Will appeal to artists, writers and students interested in the history of how social practices developed as a field through its practitioners, discourse and lived experience.

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Food journalist, podcast producer and former academic Gilly Smith offers fresh insights into the creation of contemporary British food culture. Her latest book explores the story of modern food culture with the creators of lifestyle and food TV and with the academics carving a new world in food and media studies. Taste and the TV Chef investigates how television changed the way Britain eats and sold it to the world. While cooking shows are far from new, they have exploded in popularity in recent years and changed consumption patterns at a time when what we eat has an enormous impact on climate change. What was once merely a genre is now a full-blown phenomenon: never before has food been so photographed, fawned over, fetishized and celebrated as various answers to saving the planet. Celebrity chefs and so-called ‘foodies’ have risen to new levels of fame, and the cultural capital of cooking has never been so valuable. Looks at the influence of chefs like Jamie Oliver, Nigella Lawson and Gordon Ramsay and the role of TV storytelling in transforming how and what we consume. A ground-breaking contribution to food and media studies, which includes rare interviews with the producers who created some of the most influential stories television ever told, Taste and the TV Chef investigates how food and lifestyle TV changed the way an entire country ate, and then fed it to the rest of the world. Main academic readership will be scholars, researchers and students in cultural studies, media studies. Also practitioners and students in the fields of TV production and writing. Will also appeal to anyone with an interest in the development of food TV and the rise of the TV chef.

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This book brings together multiple strands of debate around the cultural creative industries and contemporary capitalism, China’s position in global capitalism, the future of modernity and new ways of thinking about culture and cultural policy. Clearly written and engaging, it is the first study to provide a critical lens on creative industries discourse and to bring it together with detailed historical and social analysis. It analyses the ongoing development of China’s cultural industries, examining the institutions, regulations, interests and markets that underpin the Chinese cultural economy and the strategic position of Shanghai within that economy. Explores cultural policy reforms in post-colonial China and articulates Shanghai’s significance in paving China’s path to modernity and entry to global capitalism. In-depth and illuminating, this book situates China’s contemporary cultural economy in its larger global and historical context, revealing the limits of Western thought in understanding Chinese history, culture and society. This book is aimed at a broad, educated audience who seek to engage more with what is happening in China, especially in the cultural field. It tries to take such an audience outside the standard frame of Western modernity, suggesting the possibility of different historical trajectories and possibilities. Because the book is theoretical and empirical in its approach, it will be of strong interest to both those interested in Chinese cultural policy and the creative industries approach generally. Cultural and creative industries is an increasingly important subject area in Higher Education, with undergraduate and postgraduate programs representing some of the fastest growing areas in arts, humanities and social science faculties. This audience is increasingly global, as this policy debate has now moved outside the Western countries whose economic competitiveness it was meant to promote. It is an agenda promoted by agencies such as UNESCO, UNCTAD, the World Bank, British Council and the Goethe Institute. Primary readership will be academics with a particular interest in Chinese culture, cultural studies, media studies, public policy and management studies, cultural policy, East Asian studies and cultural policy researchers. It will also be relevant to all those interested in China and Chinese’s culture; and those interested in the history of Shanghai and the role it plays in contemporary Chinese culture and politics. Given the current interest in China, it may also be of wider appeal too.

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This interdisciplinary anthology explores the complex relationships in an artist’s life between fact and fiction, presentation and existence, and critique and creation, and examines the work that ultimately results from these tensions. Using a combination of critical and personal essays and interviews, MASKS presents Bowie as the key exemplifier of the concept of the 'mask', then further applies the same framework to other liminal artists and thinkers who challenged the established boundaries of the art/pop academic worlds, such as Friedrich Nietzsche, Oscar Wilde, Søren Kierkegaard, Yukio Mishima and Hunter S. Thompson. Featuring contributions from John Gray and Slavoj Žižek and interviews with Gary Lachman and Davide De Angelis, this book will appeal to scholars and students of cultural criticism, aesthetics and the philosophy of art; practising artists; and fans of Bowie and other artists whose work enacts experiments in identity.

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Culture, Technology and the Image explores the technologies deployed when images are archived, accessed and distributed. The chapters discuss the ways in which habits and techniques used in learning and communicating knowledge about images are affected by technological developments. The volume discusses a wide range of issues, including access and participation; research, pedagogy and teaching; curation and documentation; circulation and re-use; and conservation and preservation. The book illustrates how knowledge about images is intertwined with the methods that are used to store, retrieve and analyse those images and the information associated with them. Focusing on the implications of technology for processes and practices brings into view the permeable nature of boundaries between such disciplines as art history, media studies, museum studies and archiving. As such, this text will appeal to a broad academic audience, including art historians interested in the digital; media studies scholars; digital humanities scholars interested in expanding beyond textual scholarship; as well as new students in any of these fields.

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Deeply influenced by studies of female iconology, the medieval, the subconscious and hybrid bodies, Faith Wilding's art is instantly recognisable. In keeping with Wilding's own artworks, this book is a bricolage: memoirs and watercolours sit alongside critical essays and family photographs to form an overall history of both Wilding's life and works as well as the wider feminist art movement of the 1970s and beyond. This collection spans fifty years of Wilding's artistic production, feminist art pedagogy and participation in, and organising of, feminist art collectives, such as the Feminist Art Program, Womanhouse, Womanspace Gallery and the Woman's Building. Featuring contributions from scholars and artists, including Amelia Jones, the book is the first of its kind to celebrate the career of an artist who helped shape the feminist art of today. Intimate, philosophical and insightful, Faith Wilding's Fearful Symmetries is a beautiful book intended for artists, scholars and a broader audience.

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Director Sam Peckinpah (1925–1984) never won an Oscar. His filmography is short and uneven, and his movies have never found a wide audience. Despite this, many filmmakers today – including Tarantino and Scorsese – count him as a major influence. Sam Peckinpah, edited by Fernando Ganzo, investigates how this unique filmmaker can have such an outsized legacy, exploring films as diverse as New Mexico and Bring Me the Head of Alfredo Garcia, as well as Peckinpah’s television work. This lavishly illustrated volume will delight both scholars and fans—as well as bringing the underappreciated Peckinpah to new audiences in a new millennium.

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From the moment Stephenie Meyer published Twilight in 2005, the series has captivated readers. Through three subsequent novels and the blockbuster movie series, the Twilight Saga quickly became more than just a hit series – it’s now a cultural touchstone. This new entry in the Fan Phenomena series brings together scholars and fans to explore the vibrant fan culture and lasting legacy of the saga. Contributors address such topics as the role of mythology in the appeal of the series; the distinct fan groups drawn in by the books and films; the vast world of Twilight fan fiction (including a discussion of Fifty Shades of Grey, the blockbuster novel that began as Twilight fan fiction); the role of gender in Twilight’s global acceptance; and much more. As with all the books in the series, the essays included here are sophisticated and richly analytic, yet aimed as much at fans as at scholars. Whether you’re interested in analysing its initial popularity or its impact on society more than a decade later, there’s no question you’ll find plenty in Fan Phenomena: The Twilight Saga to sink your teeth into.

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Lois Weaver is one of the world's leading figures in feminist and lesbian performance, a true pioneer in the growing field. This book offers the first book-length assessment of her career and work, tracing its history, aesthetics, principles, inspirations, innovations and more. Contributors include Weaver's most important collaborators from throughout her career, as well as many of the leading feminist theorists, journalists, and performers of the past forty years. The book also includes interviews not just with Weaver, but also with her partner, in life and performance, Peggy Shaw, and groundbreaking theatre maker Muriel Miguel. The result is a book that is truly unprecedented, a lavishly illustrated and expertly curated celebration of an incredible career.

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When The Rocky Horror Picture Show was released in 1975, it initially received an indifferent reception in movie theatres, but it began to gain notoriety after it was embraced by audiences at midnight screenings in New York City and elsewhere. The movie tells of the misadventures of Brad and Janet, newly engaged, whose car breaks down in a rainstorm, forcing them to seek refuge in the castle of the bizarre and flamboyant Dr. Frank-N-Furter. An homage to campy B-movies, sci-fi, and horror films, the movie was — and still is — more than the sum of its parts. Participatory and party-like, midnight showings attract moviegoers who dress as film characters, sing along with the catchy show tunes and interact with the action on screen. In the four decades since its release, it has become a cultural phenomenon, not to mention one of the most commercially successful films of all time. In Fan Phenomena: The Rocky Horror Picture Show, Marisa C. Hayes brings together a diverse group of writers who explore the film’s influence on the development of the pastiche tribute film, emerging queer activism of the 1970s, glam rock style and the creative use of audience dialogue in recreating and interacting with the spoken and sung language of the film. Spotlighting a cult phenomenon and its fans, many of who count the number of times they’ve seen the movie in the hundreds, this contribution to the Fan Phenomena series covers never-before-explored topics related to The Rocky Horror Picture Show. For anyone who has ever done the 'Time Warp', this will be essential reading.

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It was a scene that had many names: some original members referred to themselves as punks, others, new romantics, new wavers, the bats or the morbids. 'Goth' did not gain lexical currency until the late 1980s. But no matter what term was used, 'postpunk' encompasses all the incarnations of the 1980s alternative movement. Some Wear Leather, Some Wear Lace is a visual and oral history of the first decade of the scene. Featuring interviews with both the performers and the audience to capture the community on and off stage, the book places personal snapshots alongside professional photography to reveal a unique range of fashions, bands and scenes. A book about the music, the individual and the creativity of a worldwide community rather than theoretical definitions of a subculture, Some Wear Leather, Some Wear Lace considers a subject not often covered by academic books. Whether you were part of the scene or are just fascinated by different modes of expression, this book will transport you to another time and place.

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Piercing Time examines the role of photography in documenting urban change by juxtaposing contemporary ‘rephotographs’ taken by the author with images of nineteenth-century Paris taken by Charles Marville, who worked under Georges Haussmann, and corresponding photographs by Eugène Atget taken in the early twentieth century. Revisiting the sites of Marville’s photographs with a black cloth, tripod and view camera, Peter Sramek creates here a visually stunning book that investigates how urban development, the use of photography as a documentary medium and the representation of urban space reflect attitudes towards the city. The essays that run alongside these fascinating images discuss subjects such as the aesthetics of ruins and the documentation of the demolitions that preceded Haussmannization, as well as the different approaches taken by Marville and Atget to their work. The book also includes contemporary interviews with local Parisians, extracts from Haussmann’s own writing and historical maps that allow for an intriguing look at the shifting city plan. Sure to be of interest to lovers of the city, be they Parisians or visitors, Piercing Time provides a unique snapshot of historical changes of the past 150 years. But it will also be of enduring value to scholars. The accurate cataloguing and high quality reproductions of the images make it a resource for a significant portion of the Marville collection in the Musée Carnavalet, and it will aid further research in urban history and change in Paris over the past century and a half. Photographers will be drawn to the book for its new thinking in relation to documentary methodologies.

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Hawai’i is one of the most ethnically and racially diverse places in the world due to its central location in the Pacific. Situated at the crossroads of different cultures, Honolulu has a style all of its own. Honolulu Street Style captures this unique approach as it demonstrates how global trends are transformed by stylish Honolulu denizens to give them a unique, local look. Divided into chapters on hair, hats, accessories and beachwear, the book features the styles of people encountered on the street in many different neighbourhoods, with an essay on the history and clothing of Hawai’i as a whole. The neighbourhood fashion explored includes that of iconic Waikiki, which conjures images most people associate with Hawai’i, yet the mass-produced tourist clothing belies a deeper fashion culture hidden in local enclaves and local boutiques that foster an upscale, casual style. Chinatown is a neighbourhood of dramatic colour and exotic touches, and it hosts 'First Friday' events that transform the neighbourhood into a crowded hub of artistic, musical and retail activity. As the photos show, the Kaka’ako neighbourhood draws a crowd that is hip, travelled and not afraid to venture off the beaten path. In contrast, the Manoa valley, home to the flagship campus of the University of Hawai’i, presents itself as an eclectic mix of students and professionals dressed in everything from boho chic to surfer, skater, avant-garde and casual professional style. A highly visual book with full-colour street style photography, Honolulu Street Style will be a landmark publication in the study of place and style.

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Piercing Time examines the role of photography in documenting urban change by juxtaposing contemporary ‘rephotographs’ taken by the author with images of nineteenth-century Paris taken by Charles Marville, who worked under Georges Haussmann, and corresponding photographs by Eugène Atget taken in the early twentieth century. Revisiting the sites of Marville’s photographs with a black cloth, tripod and view camera, Peter Sramek creates here a visually stunning book that investigates how urban development, the use of photography as a documentary medium and the representation of urban space reflect attitudes towards the city. The essays that run alongside these fascinating images discuss subjects such as the aesthetics of ruins and the documentation of the demolitions that preceded Haussmannization, as well as the different approaches taken by Marville and Atget to their work. The book also includes contemporary interviews with local Parisians, extracts from Haussmann’s own writing and historical maps that allow for an intriguing look at the shifting city plan. Sure to be of interest to lovers of the city, be they Parisians or visitors, Piercing Time provides a unique snapshot of historical changes of the past 150 years. But it will also be of enduring value to scholars. The accurate cataloguing and high quality reproductions of the images make it a resource for a significant portion of the Marville collection in the Musée Carnavalet, and it will aid further research in urban history and change in Paris over the past century and a half. Photographers will be drawn to the book for its new thinking in relation to documentary methodologies.

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The basic questions addressed in this book are: what is the computational nature of cognition, and what role does it play in language and other mental processes?; What are the main characteristics of contemporary computational paradigms for describing cognition and how do they differ from each other?; What are the prospects for building cognition and how do they differ from each other?; and what are the prospects for building an artificial intelligence? The text features previously unpublished contributions from some of the leading researchers in cognitive science and artificial intelligence. It also addresses important issues about the nature of cognition and describes approaches to modelling cognition at a level that is accessible to introductory students.

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Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti, street art, skateboarding, surfing, tattoos, hip hop, breakdancing, punk, lowriders, and custom culture. Based in San Diego, California, Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents. The text presents a series of articles,essays, and personal reflections thatexplore the various dimensions of TribalStreetwear, and howthe impactof their designs continues to balance theprecarious act of being relevant andresponsible with their resources. The book is divided into four sections. Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear, a personal narrative of the founding of Tribal, and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern Cali

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Devising Theatre and Performance is a hands-on guide for artists, students and teachers of performance at any stage of their practice. It offers a wide range of creative prompts and pathways enriched with critical thinking tools and questions, a hybrid approach Hill and Paris call ‘Curious Methods’. This is a welcome addition to the field, created and curated by two experienced artists who have operated at the international interface of academia and professional practice for over three decades. The collection is packed with fun, creative, thoughtful exercises distilled from over twenty years of running interdisciplinary artist workshops and teaching both devising and performance making. As well providing numerous exercises and suggestions for devising, composing and editing original works, this book offers tools for giving and receiving feedback, critical reflection and framing artistic work within academic research contexts. Readers can choose to dip in and out, to follow the book as a course or to work section by section, focusing on organizing principles such as working from the body, working with site, working with objects or performance activism. The book includes a detailed production workbook and a practice-based research workbook you can tailor to your own projects. The 'Curious Methods' approach encourages users to take the time and space their practice deserves while offering tools, nourishment and encouragement and inviting them to take risks beyond their comfort zones. The exercises are carefully described so that they can easily be tested out by readers, and are well contextualized in relation to vivid examples from contemporary performance practice and relevant political contexts. This compelling approach goes beyond many other books on theatre devising, which merely provide performance recipes; they do so by repeatedly highlighting the vital cultural relevance and potential personal impact of the experiments that they invite us to undertake. The primary audience for this important new book will be academics, instructors and students in courses on devised theatre, improvisation, performance art, experimental performance and practice-based research. It will be essential for classroom use, for students of theatre and performance and live art – undergraduate, postgraduate and Ph.D., teachers and all those needing strategies for getting started. It will also appeal to readers from the broader arts, humanities and social sciences who are seeking resources for integrating creative methods into their research.

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This book looks at the representation of female characters in French comics from their first appearance in 1905. Organised into three sections, the book looks at the representation of women as main characters created by men, as secondary characters created by men, and as characters created by women. It focuses on female characters, both primary and secondary, in the francophone comic or bande dessinée, as well as the work of female bande dessinée creators more generally. Until now these characters and creators have received relatively little scholarly attention; this new book is set to change this status quo. Using feminist scholarship, especially from well-known film and literary theorists, the book asks what it means to draw women from within a phallocentric, male-dominated paradigm, as well as how the particular medium of bande dessinée, its form as well as its history, has shaped dominant representations of women. This is the first book to study the representation of women in the French-language drawn strip. There are no other works with this specific focus, either on women in Franco-Belgian comics, or on the drawn representation of women by men. This is a very useful addition to both general discussions of French-language comics, and to discussions of women’s comics, which are focused on comics by women only. As it is written in English, and due to the popularity of comic art in Britain and the United States, this book will primarily appeal to an Anglo-American market. However, the cultural and gender studies approach this text employs (theoretical frameworks still not widely seen in non-Anglophone studies of the bande dessinée) will ensure that the text is also of interest to a Franco-Belgian audience. With a focus on an art-form which also inspires a lot of public (non-academic) enthusiasm, it will also appeal to fans of the bande dessinée (or wider comic art medium) who are interested in the representation of women in comic art, and to comics scholars on a broad scale.

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Moving far beyond predominant views of Africa as a place to be 'saved', and even more recent celebratory formulations of it as 'rising', African Luxury: Aesthetics and Politics highlights and critically interrogates the visual and material cultures of lavish and luxurious consumption already present on the continent. Methodologically, conceptually and analytically, the collection dismantles taken-for-granted ideas that the West is the source and focus of high-end and hyper-desirable material cultures. It explores what the culture of consumption means in Africa in both historical and contemporary contexts, studying diverse luxury phenomena including fashion advertising, reality television, retail, gendered consumption and gardening to re-centre the discussion on existing contemporary luxury cultures across the continent.

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Matthew Arnold's poem, 'The Church of Brou', is no Kubla Khan. Relatively unimportant as poetry and with a curiously muffled message, it has received little critical attention. This book identifies and explains its underlying symbolism, and establishes its very great importance in Arnold's inner progress.

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Proceedings of the first UK Logic Programming Conference sponsored by the British Government's Alvey Programme. This book provides an up-to-date presentation of the results of advanced UK research in the general area of Logic Programming, supported by the Alvey Programme. It presents both the theory and the applications of Logic Programming as chapters are provided by both industrial and academic researchers.

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When we open our closet doors each morning, we seldom consider what our sartorial choices say, whether we tend toward jeans and a well-worn concert t-shirt or wingtips and a three-piece suit. Yet, how we dress divulges more than whether we crave comfort or couture; our clothing communicates who we are and how we relate to our culture. But how does a Balenciaga bag or a tough leather jacket topped by liberty spikes signify these things? Fashion in Popular Culture considers this question. Combining fashion theory with approaches from literature, art, advertising, music, media studies, material studies, and sociology, contributors from across Europe, Australia, and the United States consider the function of fashion within popular culture. Fashion, they show, has the capacity to both influence and be influenced by popular culture, and its meaning is also contingent upon context. Chapters in the book cover both historical and contemporary concerns, addressing a variety of other questions, including the role fashion plays in subcultures. For students and scholars of fashion and popular culture—or anyone fascinated by what clothing can convey—Fashion in Popular Culture offers an engaging, interdisciplinary analysis.

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Be they musicals or melodramas, war movies or animation, Russian films have a long and fascinating history of addressing the major social and political events of their time. From Sergei Eisenstein’s anti-tsarist drama, The Battleship Potemkin, to socialist realism, to the post-glasnost thematic explosion, this volume explores the sociopolitical impact of the cinema of Russia and the former Soviet Union. Introductory essays establish key players and situate important genres within their cultural and industrial milieus, while reviews and case studies analyse individual titles in considerable depth. For the film studies scholar, or for all those who love Russian cinema and want to learn more, Directory of World Cinema: Russia will be an essential companion.

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