Search results for ""intellect books""

In Cosmopolitics of the Camera, the leading experts in the field present Les Archives de la Planète (The Archives of the Planet) – Albert Kahn’s stunning collection of early colour photography and documentary film – and discuss the extraordinary intellectual context from which it grew. The archives, collected between 1909 and 1932, show the cultural richness and diversity of humanity at a time of drastic geographical and historical change. Consisting of 183,000 metres of film, 72,000 autochromes and more than 6,000 stereographs, it portrays the beauty and creativity of cultures, and their fatal disappearance of which Kahn believed to be only a question of time. The Archives of the Planet was one of a string of institutions for research and international cooperation established in Kahn’s utopian World Gardens near Paris. Some of the best-known minds of the age met there regularly in order to discuss the problem of how to make new media of communication serve the cause of peace and human development. The Cosmopolitics of the Camera presents ten expert voices from seven different countries, studying the work of Kahn and his key collaborators, the geographer Jean Brunhes and the philosopher Henri Bergson, in the spirit of their culturally diverse venture, placing it in its proper historical and intellectual context, and exploring its ambitious achievements and failures. By pushing Kahn’s work back into active discussion, the analysis forces us to reflect on the ways our world is shaped and recorded by the media, and reactivates the time capsule that Kahn designed to communicate with the future.

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The Howff Project is an exploration of artist Tim Knowles’s landscape project by the same name. For more than two years, Knowles built a network of hidden, site-specific shelters across the Scottish landscape. Inspired by the Scottish word ‘howff’, which describes an abode, tavern, familiar haunt or shelter, Knowles utilized existing structures and features in the landscape and then adapted, modified, and reconfigured their characteristics to create a series of unique hidden shelters, providing refuge in remote areas. The Howff Project takes readers behind the scenes of the making of each structure, from conception to finished product. Visually rich, the book captures the landscape through more than one hundred stunning photographs and drawings, while personal anecdotes detail Knowles’s experience traveling through the Scottish Lowlands and the mountains of Aberdeenshire and the Cairngorms.

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The book provides an investigation grounded in creative writing and practice-as-research methodology and explores the issues of authorship and collaborative labour in contemporary performance. This investigation is set in the context of a world more and more characterized by fragmentation, displacement and virtual communication and relationships. It addresses and playfully engages with the following questions: what is a collaborative body? Can a sole performer carry out a collaborative practice ? Can we stand in for others? What forms of “coming-together” might take place when distance remains between those who perform and those who spectate? The book contains the full-length version of the score from A Duet Without You, an original performance piece created between 2013 and 2015 by Chloé Déchery in collaboration with a range of artistic collaborators working inter- and cross-disciplinary, including Karen Christopher, Pedro Iñes, Simone Kenyon, Marty Langthorne, Tom Parkinson, Michael Pinchbeck and Deborah Pearson. Alongside the playtext, the book entails a collection of essays written by independent writers, artists and academics and dedicated to the politics of collaboration, ranging from performative responses and co-authored articles to in-depth theoretical essays. Primary readership will be those teaching, researching or studying in theatre and performance studies, visual arts, fine arts, art history, creative writing, poetry, philosophy or French literature. Will also be of interest to art school students and those with an interest in theatre.

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When Living and Sustaining a Creative Life was published in 2013, it became an immediate sensation. Edited by Sharon Louden, the book brought together forty essays by working artists, each sharing their own story of how to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. The book struck a nerve – how do artists really make it in the world today? Louden took the book on a sixty-two-stop book tour, selling thousands of copies, and building a movement along the way. Now, Louden returns with a sequel: forty more essays from artists who have successfully expanded their practice beyond the studio and become change agents in their communities. There is a misconception that artists are invisible and hidden, but the essays here demonstrate the truth – artists make a measurable and innovative economic impact in the non-profit sector, in education and in corporate environments. The Artist as Culture Producer illustrates how today's contemporary artists add to creative economies through out-of-the-box thinking while also generously contributing to the well-being of others. By turns humorous, heartbreaking and instructive, the testimonies of these forty diverse working artists will inspire and encourage every reader – from the art student to the established artist. With a foreword by Hyperallergic co-founder and editor-in-chief Hrag Vartanian, The Artist as Culture Producer is set to make an indelible mark on the art world – redefining how we see and support contemporary artists. Louden's worldwide book tour begins in March 2017. More information and tour dates can be found online at www.livesustain.org.

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This book presents a close look at the vestiges of twentieth-century medical work at five key sites in Africa: Senegal, Nigeria, Cameroon, Kenya and Tanzania. The authors aim to understand the afterlife of scientific institutions and practices and the 'aftertime' of scientific modernity and its attendant visions of progress and transformation. Straightforward scholarly work is juxtaposed here with altogether more experimental approaches to fieldwork and analysis, including interview fragments; brief, reflective essays; and a rich photographic archive. The result is an unprecedented view of the lingering traces of medical science from Africa's past.

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Working at the intersection of religion and ever-shifting political, economic and social environments, Iranian cinema has produced some of the most critically lauded films in the world today. The first volume in the Directory of World Cinema: Iran turned the spotlight on the award-winning cinema of Iran, with particular attention to the major genres and movements, historical turning points and prominent figures that have helped shape it. Considering a wide range of genres, including Film Farsi, New Wave, war film, art house film and women’s cinema, the book was greeted with enthusiasm by film studies scholars, students working on alternative or national cinema and fans and aficionados of Iranian film. Building on the momentum and influence of its predecessor, Directory of World Cinema: Iran 2 will be welcomed by all seeking an up-to-date and comprehensive guide to Iranian cinema.

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This book brings together essays that engage with mainstream entertainment, experimental film and historical scholarship as part of a larger context for examining the grammar of 3D cinema, its histories and its futures. From cinema and television to video games and augmented reality, the essays consider an 'expanded field' of stereoscopic visual culture. Contributors explore historic and emerging technologies, singular and trendsetting practices, narrative and documentary approaches and the overall perceptual experiences of 3D media. This groundbreaking collection includes Sergei Eisenstein’s extraordinary 1947 essay 'On Stereocinema,' translated for the first time in its entirety; a landmark address by Wim Wenders; and the last essay written by 3D-pioneer researcher Ray Zone. The first book of its kind to investigate 3D arts in its various forms, it will be admired for its rigour and accessibility by scholars across disciplines in the visual arts.

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Within artificial intelligence, the need to create sophisticated, intelligent behaviour based on common-sense reasoning has long been recognized. Research has demonstrated that formalism for dealing with common sense reasoning require nonmonotonic capabilities where, typically, inferences based on incomplete knowledge need to be revised in light of later information which fills in some of the gaps. This text examines a reasoning technique based on multiple inheritance structures with exceptions (nonmonotonic inheritance structures). Without an adequate nonmonotonic inheritance reasoning technique, such as exceptional inheritance reasoning (or EIR) as proposed in this book, inheritance networks will produce inconsistencies. A number of nonmonotonic properties that enable EIR to subsume existing formalisms, such as default logic and inferential distance ordering, have been included within this reasoning technique. This inheritance formalism has been applied to the two important domains of causal reasoning and analogical reasoning, to demonstrate the conceptual power and expressiveness of the formalism.

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Performance Art in practice – pedagogical approaches opens up a variety of philosophies that explore, explain and challenge Performance art and introduces a range of practices used in higher level education. The book is a collection of nine independent essays. All the writers have several years of practice as artists, curators, teachers, professors, researchers and in establishing performance art education in Finland. The essays explain, challenge and deconstruct performance art from various angles: the body as a tool and a base of identity, self as material, pedagogic acts of dissidence, challenging societal questions without politicing art, building sustainable artwork based on emotions, intuition and research, using Fluxus scores in contemporary practices etc. are all topics dealt by the writers of Performance Art in practice – pedagogical approaches. The essays are written from a practical point of view: how do we concretely teach performance art, why have we chosen these ways and what are the outcomes. Teaching the experimental art form, that doesn’t wear a uniform and relies on ever changing time and space isn’t all evident. Deconstructing performance art and reconstructing pedagogy springs out ideas that are relevant also elsewhere in the contemporary society. The book challenges art school institutions: Individuality bound to collegiality, fruitful dialogue that bases on trust and sharing with a sociologically and politically challenging curricula come out in texts written by Aapo Korkeaoja, Eero Yli-Vakkuri, Jussi Matilainen, Pia Lindy and Tuomas Laitinen that refer to the remote countryside campus of SAMK Kankaanpää school of art. More urban perspective with philosophies, research interests and pedagogic practices at The University of Arts Helsinki are opened up by Tero Nauha, Annette Arlander, Pilvi Porkola and Leena Kela in their essays.

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In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television. The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years. Drawing on works such as Andy Bennett’s When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged with punk in late 1976, seemingly grappled with it through 1977, and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances, as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time, both ‘mainstream’ and fringe (subcultural, avant-garde art, counter-culture, taboo subjects, extremes) such that Throbbing Gristle events had an impact and affect, and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

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This is an essential practical guide for academics, researchers and professionals involved in the digital humanities, as well as designers working with them. It prepares readers from both fields for working together, outlining disciplinary perspectives and lessons learned from more than twenty years of experience, with over two dozen practical exercises. The central premise of the book is a timely one – that the twin disciplines of visual communication design and digital humanities (DH) are natural allies, with much to be gained for researchers, students and practitioners from both areas who are able to form alliances with those from the other side. The disciplines share a common fundamental belief in the extraordinary value of interdisciplinarity, which in this case means that the training, experience and inclinations from both fields naturally tend to coincide. The fields also share an interest in research that focuses on humanities questions and approaches, where the goal is to improve understanding through repeated observation and discussion. Both disciplines tend to be generative in nature, with the ultimate end in many cases of designing and creating the next generation of systems and tools, whether those be intended for dealing with information or communication. The interdisciplinary nature of this book is both a strength and a challenge. For those academics and practitioners who have worked with the other discipline, this will be a much-welcomed handbook of terminology, methods and activities. It will also be of interest to those who have read about, seen presented and used the outcomes of successful design and DH collaborations, and who might be interested in forming similar partnerships. However, for all they have in common, design and digital humanities also have significant differences. This book discusses these issues in the context of a variety of research projects as well as classroom activities that have been tried and tested. This book will provide both design and the digital humanities with a better mutual understanding, with the practical intention of working effectively together in ways that are productive and satisfying for everyone involved. Design education has a long history, a presence in many post-secondary institutions, and a robust market for educational and practice-based literature. The Digital Humanities community, in contrast, is much younger, but rising rapidly, both academically and within industry. Both design and DH are collaborative disciplines, with much in common in terms of vision, but with confusing overlap in terminology and ways-to-practice. The book describes and demonstrates foundational concepts from both fields with numerous examples, as well as projects, activities and further readings at the end of each chapter. It provides complete coverage of core design and DH principles, complete with illustrated case studies from cutting-edge interdisciplinary research projects. Design and the Digital Humanities offers a unique approach to mastering the fundamental processes, concepts, and techniques critical to both disciplines. It will be of interest to those who have been following previous work by bestselling authors in the fields of visual communication design and the digital humanities, such as Ellen Lupton, Steven Heller, Julianne Nyhan, Claire Warwick and Melissa Terras. This guide is suitable for use as an undergraduate or masters-level text, or as an in-the-field reference guide. Throughout the book, terms or concepts that may not be familiar to all readers are carefully spelled out with examples so that the text is as accessible as possible to non-technical readers from a range of disciplines.

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This text studies human creativity from a computational modelling perspective. The work examines theories and models of the creative process in humans, both input creativity - the analytic side of interpreting input information - and output creativity - the artistic, synthetic process of generating something novel and innovative. After critically examining earlier theories and computational models, the authors develop their own model, an emergent memory theory. This theory is then implemented as a computational model and a detailed empirical study is reported and analyzed.

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As European business ties develop, how are they reflected in the way companies promote themselves? And as our sense of group identity is broken down by global communications technologies, how do adverts continue to target mass audiences? This volume stands alone as the first structured assessment of the impact of advertising, in terms of both culture and business across the national boundaries of Europe. It considers the successes and failures of several strategic marketing plans from across Europe, and describes stylistic and persuasive qualities of specific promotional texts. Advertisers have long been aware of the need to target specific groups of consumers and to appeal to them precisely in terms of their sense of membership to groups. Our post-industrial society is characterized by greatly altered work and leisure patterns as well as a weakening of national and communal frameworks for collective identity. Theories relating to identity not only reflect, but actively make use of such concerns. As a part of our everyday lives, the advertising considered looks at – but is not limited to – explicit inducements to buy products. Rather it considers all promotional texts designed to inform and persuade. With examples from Scandinavia to the Iberian Peninsula, the contributors also explore the different constructions of regional, national, social and sexual identities exploited by advertisers to render their messages effective. As a result, the book will be of relevance not only to those concerned with marketing but to all scholars of media studies, language, cultural and gender studies.

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Pigeon Theatre—comprised of Anna Fenemore, Gillian Knox, and Amanda Griffkin—specializes in experimental works that incorporate non-traditional spaces, unconventional social arrangements, and shared intimacies between performer and audience. A trilogy of site-specific performance texts, The Rehearsal raises questions about theinterplay in contemporary theater between the process of rehearsal and the theatrical metaphors that shape our everyday dealings with trauma, including death. Accompanied by critical essays, these studio-based works—developed using verbatim strategies—explore the double meaning of “playing dead.”

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Despite the increasing popularity of academic filmmaking programs in the United States, some of contemporary America’s most exciting film directors have emerged from the theater world. Directors: From Stage to Screen and Back Again features a series of interviews with directors who did just that, transitioning from work on stage productions to work in television and on full-length features. Taken together, these interviews demonstrate the myriad ways in which a theater background can engender innovative and stimulating work in film. As unique and idiosyncratic as the personalities they feature, the directors’ conversations with Susan Lehman range over a vast field of topics. Each one traces its subject’s personal artistic journey and explores how he or she handled the challenge of moving from stage to screen. Combined with a foreword by Emmy award–winning screenwriter Steve Brown, the directors’ collective knowledge and experience will be invaluable to scholars, aspiring filmmakers, theater aficionados, and film enthusiasts.

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Over her more than four-decade career, New York-based filmmaker, performer, and writer Amy Greenfield has achieved widespread critical acclaim for her genre-bending films which cross the boundaries of experimental film, video art, and multimedia performance—from her feature film, Antigone/Rites Of Passion, to her major new live multimedia work, Spirit in the Flesh. Exploring the dynamism of movement and the resilience of the human spirit, Greenfield creates a new visual and kinetic language of cinema. An innovative exploration of an artist whom Cineaste called “the most important practitioner of experimental film-dance,” Flesh Into Light covers Greenfield’s entire career and draws attention to the more than thirty films, holographic sculptures, and video installations of this important American artist.

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Volume 10 in the Trends in Functional Programming (TFP) series presents some of the latest research results in the implementation of functional programming languages and the practice of functional programming. It contains a peer-reviewed selection of the best articles presented at the 2009 Tenth Symposium on Trends in Functional Programming held in Komárno, Slovakia. TFP 2009 was co-located with the Third Central European Functional Programming School (CEFP 2009) and organized by the Department of Programming Languages and Compilers, Faculty of Informatics, Eötvös Loránd University, Budapest and the Selye János University, Komárno.

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To clear their minds and organize their ideas, artists will often start projects by drawing sketches. Drawing asks why artists and designers use drawing in that way to kick-start their creative thinking, considering the application of drawing and its various uses across disciplines. From the interdisciplinary perspectives of archaeology, jewelry design, illustration, and landscape architecture, this innovative volume highlights how drawing is used in the professional world. With examples from both contemporary and historical contexts, Drawing will be an invaluable resource for practitioners and scholars seeking a rationale for why we draw.

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Art, Community and Environment investigates wide-ranging issues raised by the interaction between art practice, community participation, and the environment, both natural and urban. This volume brings together a distinguished group of contributors from the United States, Australia, and Europe to examine topics such as urban art, community participation, local empowerment, and the problem of ownership. Featuring rich illustrations and informative case studies from around the world, this collection addresses the growing interest in this fascinating dimension of art and education, forming a vial addition to Intellect's Readings in Art and Design Education series.

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Volume 8 of "Trends in Functional Programming" (TFP) presents some of the latest research results in the implementation of functional programming languages and the practice of functional programming. It contains the peer-reviewed selection of the best articles presented at TFP 2007, the Eighth Symposium on Trends in Functional Programming, which was held in New York City on April 2-4, 2007. This was the first time the TFP symposium was held in the USA and it brought together a truly international milieu of researchers, students, and industry professionals that proudly made this edition of the symposium the largest in TFP history.The topics covered in this volume include, among others, gradual typing, semantics, memory utilization and performance, hybrid types and contracts, test generation, efficient compilation of web applications, library development, and program correctness. The authors include well known veterans in the field of functional languages as well as newcomers that are quickly becoming well-established. This volume is an essential part of any modern programming languages library. The new results described in this volume are applicable to a wide array of programming languages and readers will benefit from exposure to the latest trends in solving modern Computer Science problems.The success of TFP symposia represents the growing importance of functional programming and the growing importance of the TFP policy to encourage new and veteran speakers to present their novel work at a friendly forum without first having to go through a strenuous review process. This policy has lead to a series of symposia with a rich diversity of talks from which a selection of publication-ripe articles are chosen for inclusion in a post-symposium peer-reviewed volume as the present one.

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This feels like a time of environmental and moral crisis without parallel.... Not only do human beings seem not to believe in anything but, despite exponential advances in information production, we do not appear to know much either. This book is a guide for everyone who feels understandably perplexed. The book considers issues as diverse as: the lure of alternative religions and belief systems the use of the rhetoric of economics to justify amoral decisionmaking Green politics and genetically-modifies crops New technology's power to preserve the status quo, and the true impetus behind the Human Genome Project. Presenting an explanation of recent findings in science and their relationship with society and politics, this book seeks to give guidance towards responsible political action. Starting from themes developed in the companion volume The Search for Mind, the author attempts to provide intellectual roots for the 'anti-capitalist' or 'anti-globalization' movement and, in particular, treats social protest as a form of knowledge-seeking. The author brings to very topical and controversial concerns some much-needed clarity. Complete with reader-friendly summaries of current thought in the biological, physical, and social sciences, this book is designed primarily for the popular market but will also appeal to those working or studying in these fields.

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Reframing Berlin investigates the concept of urban memory through the transformation and/or consistency of the built environment. These architectural changes, defined as urban strategies, range from demolition (forgetting) to memorialisation (remembering) and are shown through case studies using film locations in Berlin. 64 b/w illus.

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Education, mental health and the arts all share a concern for human beings and for how they live their lives. Living one's life, and living it well, has always been a challenge life never simply happens. But what the particular challenges are, differs from time to time, from location to location, and even from individual to individual. In both education and mental health there is a strong pressure to think of being human as a technical problem that in some way can be fixed' by powerful, research-based interventions. Also arts are quickly turned into an instrument for fixing problems. While such fixing may be possible, and may appear to be quite successful from one perspective, it clearly runs the risk of turning students and clients into objects things to be acted upon, rather than human beings to encounter and act with. This book stages conversations between art, education, and mental health around the question of what it means to be human today. Moving beyond the suggestion tha

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The book addresses themes such as visual perception, perception of 3-D and stereo. With the event of the stereoscope and the theatre, dioramas and panoramas before it, vision and perception in the eighteenth and nineteenth century is seen to be marketed to a mass audience. As such the spectacle of the stereoscope and other optical devices can be seen as a precursor to mass media dissemination today. Yet artists use the stereoscope and VR to signify the spectacle, clairvoyance, vision and the mechanism of vision as well as a symbol for the act of looking, being looked at while looking and the gaze within an art new media practice. Other artists have used 3-D and virtual reality to address themes such as theories of consciousness or embodied consciousness, the human – machine relationship and the idea of mapping reality, alternative networked realities. The book includes an introduction and summary of chapters, 86 anaglyphic 3-D images and presents a survey of artists working in 3-D and virtual reality, VR art. The convergence of other fields such as new media art, video art and early virtual reality art is described through many examples within the scope of the book. Artists discussed include Mert Akbal, Zoe Beloff , Geoffrey Berliner, Lygia Clark, Dan Graham, Salvador Dali, Marcel Duchamp, Scott S. Fisher, Rebecca Hackemann, Perry Hoberman, Daniel Iglesia, Ken Jacobs, William Kentridge, Susan MacWilliam, Patrick Meagher, Rosa Menkman, Jim Naughten, Tony Ousler, Alfons Schilling, Joel Schlemowitz, Christopher Schneberger, Judith Sönniken, Ethan Turpin, Aga Ousseinov, Colleen Woolpert. 3-D glasses included with hardback book.

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This book is for artists, teachers, and those who prepare teachers. In the field of art and design education there are many theoretical strands that contribute to the practices of teaching and learning in the visual arts. The problem for artist teachers and those who prepare teaching artists is how to frame the diverse methodologies of art and art education in a way that affords divergent practices as well as deep understanding of issues and trends in the field. Teachers need a field guide that provides a contextual background of theory in order to make their own teaching practice relevant to contemporary art practices and important ideas within the field of education. The book, in its content and presentation of content is pedagogical; it provides a catalyst and prompt for meaningful and personal artistic inquiry and exploration. The book describes connections between teaching and artistic practices including the pedagogical turn in contemporary art. As a book for artists and designers, it is graphically compelling and visually inspiring. It is designed to be engaging for the practitioner and theoretically robust. A problem with many current texts is that they are written by academics who are often a step removed from the issues of classroom instruction and tend use the language of the scholar, which is appropriate for a scholarly journal, but can be difficult for other audiences. This book will bridge this divide through its use of design, narrative, and descriptions of innovative artistic practices. Rather than being a book about “best practice” it is a book about “diverse practices” within art making and teaching. This field guide to artistic approaches, including methods for teaching art, frames its arguments around critical questions that artists and art teachers must address such as: What is the role of art and design in secondary education? What will I teach? How do we go about teaching art? How do I know if my teaching is working? What is the role of traditional mediums and methods within contemporary art practices? How can art teachers contribute to the reinvention of schools? How might fluency within a medium be connected to important issues within culture, including the culture of adolescents? This book includes examples of approaches that might provoke or inspire artist and pedagogical inquiry. These are approaches that actively engage students in work that disrupts taken for granted conventions about schooling and its purposes. It considers how art and design might transform the school experience for adolescents.

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The short lived Tulip Era breathed a new life into Ottoman social life and novel elements of art, architecture and new spaces of leisure and entertainment that both men and women could participate and enjoy emerged during the early 18th century. Later, during the 19th century, triggered by the state policies to establish closer relationship with European states, as well as by the royal urge to be seen and felt by their subjects more intensively and more interactively, these novelties in social life were predominantly adopted and instrumentalized by the ruling elite and found their reflection in major urban centers of the empire. With the emulation of the ruling elite by various classes and due to an increasing social mobility among classes, the new forms of entertainment and recreation gradually permeated into the rest of the society and ended up having a long-term impact on the Ottoman society. Hence, during the 19th century, a modern urban life in Ottoman cities has emerged, shaped by these new forms of recreation and entertainment and by new regimes of visibility. Ripping open of their traditional nuclei in the second half of the 19th century, these urban centers accommodated –along with new trade, financial, industrial and residential facilities– different types of entertainment and recreation, ranging from opera to cinema and from concerts to sports. Thus the late-Ottoman cities witnessed the emergence of new architectural and urban facilities, such as theatres, opera houses, clubs, performance halls, sports fields, and public parks. These spaces of entertainment and spectacle represented the modernizing face of the empire and also embraced by the Republican elite after the foundation of the young Turkish Republic. These public/social spaces were utilized for the making of the modern Turkish nation. This edited volume offers an analysis of the forms and spaces of spectacle, entertainment, and recreation during the late Ottoman and early Republican eras. Each article focuses on different forms on spectacle, entertainment or recreation in varied cities of Ottoman Empire or Republican Turkey. The edited volume aims not only to shed light on how such urban or architectural spaces were developed and shaped, but also to scrutinize their impact on social, cultural, urban life in the modernizing Ottoman Empire and Republican Turkey. Part of the Critical Studies in Architecture of the Middle East series.

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This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

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The punk movement of the 1970s to early 1980s is examined as an art movement through archive research, interviews, and art historical analysis. It is about pop, pain, poetry, presence, and about a ‘no future’ generation refusing to be the next artworld avant-garde, instead choosing to be the ‘rear-guard’. Skov draws on personal interviews with punk art protagonists from London, New York, Amsterdam, Copenhagen, and Berlin, among others the members Die Tödliche Doris (The Deadly Doris), members of Værkstedet Værst (The Workshop Called Worst), Nina Sten-Knudsen, Marc Miller, Diana Ozon, Hugo Kaagman, as well as email correspondence with Jon Savage, Anna Banana, and Genesis Breyer P-Orridge. A large portion of the discussed materials stem from the protagonists' private archives, while some very public—scandalous and spectacular—events are discussed, too, such as the Prostitution exhibition at the ICA in London in 1976 and Die Große Untergangsshow (The Grand Downfall Show) in West-Berlin in 1981. The examined materials cover almost all media: paintings, drawings, bricolages, collages, booklets, posters, zines, installations, sculptures, Super 8 films, documentation of performances and happenings, body art, street art. What emerges is how crucial the concept of history was in punk at that point in time. The punk movement's rejection of the tale of progress and prosperity, as it was being propagated on both sides of the iron curtain, evidently manifested itself in punk visual art too. Central to the book is the thesis that punks placed themselves as the rear-guards, not the avant-gardes, a statement which was in made by Danish punks in 1981, when they called themselves “bagtropperne". Behind the rear-guard watchword was the rejection of the inherent notion of progress that the avant-garde name brings with it; how could a "no future" movement want to lead the way? Although aimed at students and scholars of art, design, music and performance history, the subject as well as the author’s accessible, occasionally playful style will no doubt draw readers with an interest in punk, music, and urban histories.

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This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

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The book focuses on radio and sound docufiction and docudrama through comparative analysis of the British and the Italian output from post war years to the 2010s, from both a historical and formal point of view. It sheds light on a rather neglected area of study providing a systematic survey of the development of the form and of its current status and perspectives, and at the same time constructing viable analytical tools that can be used to investigate individual productions. Considering the different docudramatic output in formats and quantity in the two countries, the book explores case studies from BBC Radio, which continue to air a high number of programmes with a great variety of formats and subgenres, and Italian case studies from both independent bodies and the Radio RAI, whose docudramatic production has declined since the late 1980s. Specifically, the study seeks to explain how radio language in its purely acoustic dimension allows access to unpredictable layers of truth often complementary, when not overtly alternative, to the documental truth of declaredly journalistic or scientific programmes. A well-researched resource for university students, scholars, researchers and educators in media, sociology of media and history. In-depth analysis of an original topic.

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The Performing Observer is a collection of short, critical writings on contemporary art, performance, and photography written over the course of the past two decades. These texts were originally published in a variety of settings, including art magazines and exhibition catalogues, online journals and websites. A wide range of global practitioners are analysed, from emerging to established artists. As the title suggests, Patrick feels that he is simultaneously performing a role while observing and writing about the field. The intention is to present a well-informed but jargon free survey of many significant developments in contemporary art and culture. Among the artists discussed are: Francis Alÿs, Laurie Anderson, Chris Burden, William Eggleston, Cindy Sherman, and Andy Warhol. The book examines an important series of interconnected contemporary art practices. Layering writings on performance-based work, material forms and photography, it positions performance within a larger context. The artists selected are genuinely international with a strong focus on the southern hemisphere, and are grouped together in sections Patrick calls Performance, Photography, Publicness, Video, Books and Exhibitions. It aims to make sense of a specific modality of art making with an interesting - and to a degree unspoken - interest in art writing itself. Both elements are compelling separately but especially so together. Accessibly written and especially approachable for a range of interested readers. It offers scholarly and critical depth while retaining a writing style that will appeal beyond a strictly scholarly audience. It will appeal to readers closely involved in contemporary art theory and practice, whether students, artists, academics or simply curious to know more.

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Fan Phenomena: Disney collects essays on Disney fans, spanning a variety of media (such as film, television, novels, stage productions and theme parks) and different fannish approaches (cosplay, fan art), as well as the company's reactions to them. It is a timely intervention that deals with crucial issues such as race and racism within the Disney fandom and in Disney texts, the role of queerness, the impact of the Covid-19 pandemic and the advent of the streaming service Disney+. The authors come from variety of disciplines, such as cultural and media studies, marketing and communications, cultural history or theatre and performance studies, and include both leading experts in fan and Disney studies, as well as emerging voices in these fields, plus interviews with fan practitioners. It will be popular with scholars of cultural studies, cultural history, media studies, fan studies; Disney fans, and students at any level

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This book is the first to explore, in depth, major painters of the period and the factors that shaped their art. Accessible to both art novice and specialist, it is written in jargon-free, readable language, blending vignettes about the soaring art market of the eighties with illuminating interpretations of paintings by leading artists from around the world. Painting in the 1980s details where and how painting embodied the zeitgeist of the 1980s in original fusions of style and content. Erpf knows each artist’s work well, and her discussions of the individual paintings are vivid and insightful. They bring the vitality of the art world in this understudied period to the fore. The individual descriptions and discussions of paintings are lively, engaging and provocative. They infuse each chapter with the author’s passion for the subject and carry the reader along. The thematics – painting as puzzle, German history, Italian place – hold each chapter together and set the foundation for the author’s original thinking and point of view. This book explores painting by a broad swathe of artists who were at the heart of that painting resurgence. The many books that examine twentieth-century art tend to emphasize painting as part of European Modernism, American Abstract Expressionism, and Pop Art, with late twentieth-century painting often given short shrift. Excellent monographs and exhibition catalogues on individual artists exist, but Erpf’s intention is to counter the paucity of literature devoted to a larger group of painters. This is not a comprehensive look at all the artists who contributed to 1980s paintings revival. Gallerists, curators and art historians assigned labels such as New Image Painting, Neo-Expressionism, Italian Transavanguardia, Neo-Geo and the blanket designation Postmodernism to categorize painting in this era. Yet these classifications denote a false sense of homogeneity, which will be made clear in this book. This book’s narrative aims to excavate and analyse the art and ideas that shaped each artist’s style and their diverse and often ambiguous content. Works by the following artists are included: Nicolas Africano, Georg Baselitz, Jean-Michel Basquiat, Joseph Beuys, Francesco Clemente, Sandro Chia, George Condo, Enzo Cucchi, Marlene Dumas, Eric Fischl, Denise Green, Philip Guston, Peter Halley, Mary Heilmann, Neil Jenney, Donald Judd, Anselm Kiefer, Gordon Matta-Clark, Robert Moskowitz, Mimmo Paladino, A.R.Penck, Lari Pittman, Sigmar Polke, Gerhard Richter, Susan Rothenberg, David Salle, Julian Schnabel, Joel Shapiro, Frank Stella and David True. The artists discussed are all well known, but the surprises are in the innovative ways the artists insisted on returning to painting in a decade when it had been pronounced dead. Their courage and creativity comes through in the text. This will appeal to artists, art and cultural historians more broadly, and is suitable as a textbook for undergraduate and postgraduate courses in twentieth-century and contemporary art history. Novice art historians, art enthusiasts and collectors will also find much to enjoy here – it has appeal well beyond simply those professionally involved in the art world.

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Through Islamic Architecture Today and Tomorrow, established experts, designers, and newer scholars from the world of ‘Islamic architecture’, broadly conceived, consider the field’s changing nature and continued relevance in our rapidly globalizing context. Reflective essays address the meaning of ‘Islamic’ in built environments, as well as the geographical, chronological, and disciplinary diversity of a dynamic field of study that encompasses far more than mosques and tombs. Essays address the use and interpretation of historic structures and spaces, in addition to contemporary design, conservation, and touristic experience, as well as research, publication, and pedagogical practices. It introduces scholars and practitioners to the state of Islamic architecture as a field of inquiry and provides a snapshot of the issues and challenges facing the field today. Looking forward, it invites readers to consider built environments in Islamic contexts as integral to global systems from an interdisciplinary and inclusive perspective. While this volume offers nuanced perspectives on a host of pressing questions, it ultimately aims to advance a necessarily on-going conversation. The book will have wide appeal among architectural historians, art historians, and other scholars working on material in the traditional Islamic regions of the world (North Africa, the Middle East, and South Asia) and beyond, as well as scholars of religion and society. Practicing architects, landscape architects, planners, preservationists, and heritage managers in the regions addressed may also be interested in the volume. Essays have been written with non-specialist and student readers in mind. Undergraduate, graduate, and design students may use selected essays, or the entire collection, in university or graduate school coursework in architecture and Middle Eastern or Islamic studies.

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The idea of luxury has secured a place in contemporary western culture, and the term is now part of common parlance in both established and emerging economies. This book explores the many issues and debates surrounding the idea of luxury. This new research addresses contentious issues surrounding perceptions of luxury, its relationship to contemporary branding as created by the marketers, and the impact this has on the consumer and their purchasing habits. Crafting Luxury considers work within the field of luxury and luxury brands, encompassing established companies with a long heritage: from conglomerates and small independents to 'new' luxury and emerging models with innovative practices. It examines the industry structures with respect to production, as well as the hierarchies that exist, and the impact these have on both internal and external perceptions of luxury, from the makers to the sellers and consumers alike. Attention is also given to the working structures of the ateliers, production facilities, origin of materials, manufacture and the impact of technology on consumption, the retail environment and sales, all providing a true insider’s view of this complex world. The authors – a designer of product and jewellery, a brand strategist and a fashion designer, an architect, and a sociologist and specialist in business management – are practitioners and academics. Their approach to dissecting the complex world of luxury brings distinct viewpoints to the debate, offering different perspectives, thoughts and interpretations of luxury. Crafting Luxury will appeal to academics and educators, industry specialists and anyone interested in luxury as a concept. It will appeal to those in a variety of academic and industry disciplines: art history, history, social sciences and humanities with an interest in luxury, fashion studies, design, business, cultural studies and textiles. It will also be valuable to students and researchers in social sciences, humanities, business, design, branding, consumption, retail, architecture, cultural studies, fashion studies and textiles. May also appeal to industry practitioners in retail, design, technology, marketing, the supply chain and manufacture, as well as design professions including architecture, fashion and interior design.

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What does it mean to love with technology? Does data improve our emotional interactions? The collection approaches the query with critical essays and works of new media art to look into the construction of love and its practices in the time of digitally mediated relationships. With expertise coming from recognized researchers, critics and artists in the field of media and cultural studies, it analyses relationship trends and affect cultures that have emerged from technological acceleration. Data Dating: Love, Technology and Desire is a comprehensive study of love and intimacy under digitalism that reflects on the structure of feeling(s) and libido environments in the high-tech and media-bound landscapes of contemporary technocracies. Organized around ten chapters and ten works of new media art, the collection offers an extensive critical analysis of technologized romance (and other emotional relations), as well as provides an insight into the codification, execution, deployment, and evolution of the patterns of togetherness in the so-called Tamagotchi era. The chapters engage in the problems of new material planes that have emerged from the abstraction of networked communication and dispersion of traditional notions of physicality. They close-read the templates of contemporary fantasy, fetish and eroticism, as shaped by platform capitalism, datafication, and new commodity cultures, in which self-promotion for bonding relies on the new possibilities that are coming in with new media self-mediation formats. Central to the analysis is the carbon-silicon dynamics of love’s contemporary DNA and libidinal techne – practiced in the environment where screens, interfaces, algorithms, data protocols and non-organic objects of affection and affect delineate, organize and program the trajectories of encounter, limerence and erotic pleasure. All the chapters are authored by recognized researchers in the field of love, emotion, media, technology and cultural studies, and they critically explore various aspects of love/intimacy under technocracy, approaching them with expertise the goes beyond the typical high-modernist and post-structural reading of the media-ridden life practices and environments. More importantly, the collection includes landmark works of new media art coming from prominent new media artist gathered around 'Data Dating' – new media art exhibition, curated by Valentina Peri (co-editor of the collection) and presented in Paris, Tel Aviv and London. As such, the collection proffers a unique and original critical approach – one that combines artistic practice and cultural criticism – to comment upon the transformation of human relationships and emotional standards under technological development with reference to the social change and cultural condition. The collection of essays, each accompanied by a work of media art, that provides a comprehensive insight into the construction of love and its practices in the time of digitally mediated relationships. Primary readership will be among educators, researcher and students in disciplines including cultural studies, media and communications, philosophy, sociology, psychology and gender, LGBTQ+ and sexual studies. It will be an extremely valuable resource for those in these fields. It will be of interest to other groups including art curators, online platform designers, social media content managers and designers and data specialists.

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This book addresses the relationships between fashion, women and power. One of the constants within the book is to question the enduring relationship between women and dress and how these inform and articulate the ways in which women remain represented as either suitable or not for public office and their behaviour is informed through dress when they are in power. The book critiques the interplays between politics, power, class, race and expectation in relation to the everyday practice of getting dress and the more performative and symbolic function of dress as embodiment. As never before, women are in positions of political power, and find themselves facing the maelstroms of mass media regarding their fashion, their deportment, and their right to govern. The contributors offer a wide set of perspectives on women and their roles, and their fashions when taking up powerful positions in Australia, New Zealand, United Kingdom and the United States. From the United Kingdom, the historical issues surrounding the movement towards ‘rational dress’ for women seeking their rights to vote and exercise are interrogated. The volume also explores viewpoints from East Asia, such as the constricting role for ‘common’ women upon entering the Imperial family in Japan. From the United States come the troublesome media stories engulfing two significant American Democratic First Ladies, Hillary Rodham Clinton and Michelle Obama. From New Zealand, the media reports on Prime Minister Jacinda Ardern upon her motherhood while serving in the office and on her clothing during the 2019 Christchurch massacre comprise a much-needed contribution to the literature on women, politics and dress. Further, the role of dress in politics broadly as a form of resistance, will be examined in Australia from recent skirmishes over ‘appropriate dress’ with ex-prime minister Julia Gillard and other Australian female politicians. The role of women and what their fashion selections mean continues via considerable debate during worldwide events. Finally, the theme of resistance and social media continues with an examination of protest dressing in the recent street battles in Hong Kong to how young Asian women have been influenced by the social media campaigns to encourage wearing the veil in Indonesia, to Asian women negotiating femininity in political dress. Primary readership will be among researchers, scholars, educators and students in the fields of fashion, dress studies, women and gender studies and media and history. It will be of particular value as at graduate level and as a supplementary resource. There may be some general appeal to those with an interest in the women or cultures at the centre of the discussions.

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Includes 36 chapters that deploy interdisciplinary approaches to the analysis of the mutual relationship between pandemics and the built environment. The chapters share the story of a pandemic in a particular city or region from five continents, and are organized in four sections to convey the mechanisms of change that affect vulnerabilities and responses to epidemic illnesses: 'Urban Governance', 'Urban Life', 'Urban Infrastructure' and 'Urban Design and Planning'. Two prominent scholars from the disciplines of public health and medical anthropology provide a prologue and epilogue: Sandro Galea writes on 'Pandemics and urban health', and Richard J. Jackson on 'Urbanism and architecture in the post-COVID era'. The contributors to this new study are historians, public health experts, art and architectural historians, sociologists, anthropologists, doctors and nurses. In researching their contributions, all have spoken to an audience that includes the public, practitioners and academic readers; the resultant case studies reveal a diverse range of urban interventions that are connected to the impact of epidemics on society and urban life, as well as the conceptualization of and response to disease. Epidemic illnesses – not only a product of biology, but also social and cultural phenomena – are as old as cities themselves. The recent pandemic has put into perspective the impact of epidemic illness on urban life and exposed the vulnerabilities of the societies it ravages as much as the bodies it infects. How can epidemics help us understand urban environments? How might insights from the outbreak and responses to previous urban epidemics inform our understanding of the current world? With these questions in mind, this book gathers scholarship from a range of disciplines to present case studies from across the globe, each demonstrating how cities in particular are not just the primary place of exposure and quarantine, but also the site and instrument of intervention. This book seeks to explore the profound and complex ways that architecture and landscape design were impacted by historical epidemics around the world, from North America to Africa and Australia, and to convey this information in a way that meaningfully engages a public readership. The chapters analyse the development of urban infrastructure, institutions and spaces in western and eastern societies in response to historical pandemics. They also demonstrate how epidemic illnesses, and their responses, exploit and amplify social inequality in the urban contexts and communities they impact.

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A tweet by American actor and activist Alyssa Milano, sent on October 15, 2017, opened the floodgates to an outpouring of testimony and witnessing across the Twitterverse that reverberated throughout social media. Facebook status lines quickly began to read “Me too,” and #MeToo was trending. That tweet re-launched the ‘me too’ movement, which was started in 2006 by Tarana Burke. Performing #MeToo: How Not to Look Away does not attempt to deliver a comprehensive examination of how #MeToo is performed. What it does aim at presenting is a set of perspectives on the events identified as representative of the movement through a lens or lenses that are multinational, as well as work and analysis from a variety of time periods, written in a diversity of styles. By providing this means of engaging with examples of the many interpretations of and responses to the #MeToo movement, and by identifying these responses (and those of audiences) as provocations, of examples of how not to look away, the collected chapters are intended to invite reflection, discussion and, hopefully, incite action. It gives writers from diverse cultural and environmental contexts an opportunity to speak about this cultural moment in their own voices. There is a wide geographical range and variety of forms of performance addressed in this timely new book. The international group of contributors are based in the UK, USA, Australia, South Africa, Scotland, Canada, India, Italy and South Korea. The topics addressed by writers include socially engaged practice; celebrity feminism, archive and repertoire; rape/war; misogynistic speech; stage management and intimacy facilitation; key institutions’ responses; spatial practices as well as temporal ones; academic call-outs; caste/class; political contexts; adaptation of classic texts; activist events; bouffon (a clown technique) and audience response Forms of performance practice include applied theatre, performance protest, verbatim, solo performance, institutional practice, staging of plays, street responses, academic, adaptation of classic text, play reading events and the musical. Although there is much to read in the media and alternative media on the #MeToo movement, this is the first attempt to analyse the movement from and in such diverse contexts. Bringing together twelve writers to speak about works they have either performed, witnessed or studied gives the reader a nuanced way of looking at the movement and its impact. It is also an incredible archive of this moment in time that points to its importance. Suitable for use in several graduate and undergraduate courses, including performance studies, feminist studies, sociology, psychology, anthropology, environmental or liberal studies and social history. Essential reading for theatre workers, academics, students, and anyone with an interest in feminism, contemporary theatre or human rights. For artists considering projects that include the themes of #MeToo, and for producers and directors of such projects looking for good practices around how to create environments of safety in their organizations, as well as those who wish to organize communities of artists. For anyone interested in learning more about how to support the movement, or an interest in the specific social narratives told in each individual chapter. For women, feminists and anyone with an interest in the issues.

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This is the first book to explore the notion of sacred places from the perspective of performance studies and presents both practice-as-research accounts alongside theoretical analysis. It is multidisciplinary, bringing together religious studies, philosophy and anthropological approaches under the umbrella of performance studies. By focusing on practice and performance rather than theology it also expands the notion of sacred places to non-religious contexts. This new collection offers a multi-layered and contemporary approach to the question of sacred sites, their practices, politics and ecologies. The overarching critical framework of inquiry is performance studies, a multidisciplinary methodological perspective that stresses the importance of investigating the practices and actions through which things are conducted and processes activated. This is an innovative perspective that recognizes the value, function and role that practices and their materialities have in the constitution of special places, their developments in culture, and the politics in place for the conservation of their sense of specialness. The questions investigated are: what is a sacred place? Is a place inherently sacred or does it become sacred? Is it a paradigm, a real location, an imaginary place, a projected condition, a charged setting, an enhanced perception? What kind of practices and processes allow the emergence of a sacred place in human perception? And what is its function in contemporary societies? The book is divided into three sections that evidence the three approaches that are generally engaged with and through which sacred places are defined, actualized and activated: Crossing, Breathing and Resisting. There is a strong field of international contributors including practitioners and academics working in the United Kingdom, the United States, Poland and Australia. Primary interest will be students, academics and practitioners studying or working in theatre and performance studies; fine art; architecture; cultural and visual studies; geography; religious studies; and psychology. Potential for classroom use, and very strong potential for inclusion on reading lists as a secondary text for undergraduate and postgraduate courses in fine art, live art, performance art, performance and theatre studies.

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The music industries are fuelled by statistics: sales targets, breakeven points, success ratios, royalty splits, website hits, ticket revenues, listener figures, piracy abuses and big data. Statistics are of consequence. They influence the music that consumers get to hear, they determine the revenues of music makers, and they shape the policies of governments and legislators. Yet many of these statistics are generated by the music industries themselves, and their accuracy can be questioned. This original new book sets out to explore this shadowy terrain. While there are books that offer guidelines about how the music industries work, as well as critiques from academics about the policies of music companies, this is the first book that takes a sustained look at these subjects from a statistical angle. This is particularly significant as statistics have not just been used to explain the music industries, they are also essential to the ways that the industries work: they drive signing policy, contractual policy, copyright policy, economic policy and understandings of consumer behaviour. This edited collection provides the first in-depth examination of the use and abuse of statistics in the music industries. The international group of contributors are noted music business scholars and practitioners in the field. The book addresses five key areas in which numbers are employed: sales and awards; royalties and distribution; music piracy; music policy; and audiences and their uses of music. The authors address these subjects from a range of perspectives. Some of them test the veracity of this data and explore its tactical use by music businesses. Others are helping to generate these numbers: they are developing surveys and online projects and offer candid self-observations in this volume. There are also authors who have been subject to statistics; they deliver first-hand accounts of music industry reporting. The digital age is inherently numerical. Within the music industries this has prompted new ways of tracking the usage and recompense of music. In addition, it has generated new means of monitoring and engaging audience behaviour. It has also led to increased documentation of the trade. There is more reporting of the overall revenues of music industry sectors. There is also more engagement between industry and academia when it comes to conducting analyses and offering numerical recommendations to politicians. The aim of this collection is to expose the culture and politics of data. Music industry statistics are all-pervasive, yet because of this ubiquity they have been under-explored. This book provides new ways by which to learn music by numbers. A timely examination of how data and statistics are key to the music industries. Widely held industry assumptions are challenged with data from a variety of sources and in an engaging, lucid manner. Highly recommended for anyone with an interest in how the music business uses and manipulates the data that digital technologies have made available. Primary readership will be among popular music academics, undergraduate and postgraduate students working in the fields of popular music studies, music business, media studies, cultural studies, sociology and creative industries. The book will also be of interest to people working within the music industries and to those whose work encounters industry statistics.

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While Eastern European migration is predominantly seen as one-way, permanent, for economic reasons and as going bilaterally from East to West Europe, this book investigates alternative patterns of migration and mobility across Europe. This original new book explores how visual artists take part in regular cross-border mobilities, onward migrations and transnational communications across Europe for work and the effects of this on their feelings of home and belonging. It assesses how far there is a culture of mobility amongst visual artists from the Baltic States of Lithuania, Latvia and Estonia, for whom a combination of onward migration and regular cross-border mobilities is a necessity for career progression. This is due to the ‘glass ceiling’ in the Baltic States with regard to a lack of local art markets, few dealers buying art and governments not providing enough funding. How then do artists from the Baltic States get onto the global art market in the face of such barriers? This is a particularly important question, as these artists come from a region where migration, mobilities and cross-cultural exchanges were not freely available during the Soviet Union. This transdisciplinary investigation into visual artists’ working practices, ways of moving and placing dwellings addresses this issue. Mobile working practices have an impact on artists’ feelings of home and belonging, which can be seen in their artworks that compare different cultures. This is a result of their particular combination of onward migration and regular mobilities, the multiple flows in and out of the home cities and the workings of the global art market within which these artists are operating. Nevertheless, these movements are determined by the forces of the global art world, whereby a particular politics of migration and mobility is experienced by artists from the Baltic States wanting to ‘make it’ in the global art world. With its focus on Baltic artists and their mobilities, the scope and space explored is the whole of Europe and the mobilities explored in this text are crucially enabled by the freedom of movement in the European Union. The book is multidisciplinary and at the intersection of art, geographic mobility and creative practice. It combines visual cultures and social sciences in order to answer questions more thoroughly as well as to contextualise an analysis of artworks in a conversation with the artists themselves. This topic is current, with the situation of the ‘refugee crisis’ and Brexit that has created a culture of anti-immigration and resurgence in anti-Eastern European sentiment in government, mainstream media and society. The book discusses the implications of these complex itineraries on the conventional sociological notions of home, mobility and diaspora. The author argues that artists form a ‘diaspora of practice’ rather than of ethnicity, their homes are multiple as are the directions of their settlement. Primary appeal will be to artists and art professionals; scholars working and researching on mobilities and migration issues; those working on the concepts of belonging and home; sociologists; anthropologists; those in the fields of cultural studies and European Union studies.

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A case study of one specific substantial three-part project inspired by the work of William Shakespeare. Three interconnected performances that interrogate roles in the theatre-making process, along with essays that contextualize the themes and approaches of the work, serve as provocations for the acts of dramaturgy the work entailed, juxtapose new writing and performance writing, and problematize the notion of playtexts. Taking as their starting point a stage direction or a moment in the narrative that is not the main focus, the playtexts recontextualize, deconstruct and disorientate the classic text within a landscape that is more polarized, free from the text and inherently and explicitly aware of its own theatricality. The work negotiates the ever-shifting relationship between the text and its performance, the performers and their audience, whilst acknowledging that Shakespeare often employed a play-within-a-play as a device, what we now call a meta-theatrical mode of representation. The three playtexts are The Beginning, an interpretation of A Midsummer Night’s Dream, The Middle, a deconstruction of Hamlet, and The End, triggered by a stage direction from The Winter’s Tale. Shown together as The Trilogy, each play asks the audience to enter a world where a performance can be a rehearsal, text can be both script and set … and they are always aware of where the fire exits are. The playtexts are presented with essays from a range of contributors that reflect on their poetics, themes and concerns in relation to dramaturgy. Brings together scholarship and creative work, places them in dialogue with each other and does so from a wide range of perspectives: from those involved in the process, those in the margins of that process and those encountering the works without having been part of that process. The particular strengths of this challenging but accessible book are in the ways it places these perspectives in conversation with and through dramaturgy, and contributes a dialogue about making and reflecting text and performance. A rich and thought-provoking text that has the potential to move the dialogue on dramaturgy forward both among practitioners and academics. It is a fresh, intellectually invigorating read; the change of perspective and the playful structure that brings a recognisable five-act dramatic structure and academic elaboration together keeps readers focused and guides them through the book. Very conscious of its own unorthodox format – a combination of script and reflection, by a variety of voices – which is certainly part of the freshness of the book and part of its appeal. Primary readership will be among practitioners, academics and researchers in the field of dramaturgy, teaching, devising, writing for performance and non-linear narrative; performance students making or reflecting on their own devised performance work; postgraduate students who are engaged in making practice as research. Also of relevance and interest to makers and scholars of theatre and performance, alongside those interested in creative critical writing; to those interested in how we make, and reflect on, theatre and performance; those interested in contemporary dramaturgy and embedded criticism; and those studying theatre and performance, and interdisciplinary practice research.

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This book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem’s work addresses women’s history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses and the intimacy of one-to-one works. One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem’s legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by 200 images, this book will be of interest to scholars and students of performance studies, feminist performance, feminist art history and performance history. It will also contribute to the history of alternative spaces and galleries, which is only now being written. I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say. Guillermo Gómez-Peña Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance. Dominic Johnson, Queen Mary University of London

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Joshua Sofaer works across boundaries, borders and disciplines to create artworks that engage with all levels of society. In cultural institutions or on the street, for art galleries or personal homes, staged as operas or cast as golden sculptures, Sofaer’s work weaves with and through social fabric to consider the ideas that hold us together. Co-published with the Live Art Development Agency, this lavishly illustrated volume is the first in-depth study of the artist’s work, featuring discussions with producers and participants, documentary images and a new photographic essay, interviews with the artist himself, and thirteen commissioned essays by scholars, curators and artists from the perspectives of performance studies, archaeology and opera criticism. With a mixture of intellect, humour and striking design, Joshua Sofaer: Performance | Objects | Participation analyses the artist’s oeuvre in the contexts of liveness, visual art and participatory practices. It explores the binding aesthetics of his approach as a model for contemporary practice, and it considers the impact of his work on audiences, institutions and pedagogy, as well as on fine art and performance ecologies as a whole.

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Notoriously difficult to define as a genre, Live Art is commonly positioned as a challenge to received artistic, social and political categories: not theatre, not dance, not visual art... and often wilfully anti-mainstream and anti-establishment. But as it has become an increasingly prevalent category in international festivals, major art galleries, diverse publications and higher education streams, it is time for a reassessment. This collection of essays, conversations, provocations and archival images takes the twentieth anniversary of the founding of one of the sector’s most committed champions, the Live Art Development Agency (LADA) in London, as an opportunity to consider not only what Live Art has been against, but also what it has been for. Rather than defining the practices in oppositional terms – what they might be seeking to critique, reject or disrupt – this collection reframes these practices in terms of the relations and commitments they might be used to model or advocate. What kinds of care and recovery do they enable? What do they connect as well as reject? What do they make possible as they test the impossible? What ideas of success do they stand for as they risk failure? In this way, the central theme of the collection, and to which all contributors were invited to respond, is the idea of agency: the capacity for new kinds of thoughts, actions and energies as enacted by individual artists and groups. It seems appropriate that this question would be considered in relation to the history of one particular ‘agency’: LADA itself. These questions are explored in a unique conversational format, bringing together a diverse range of emerging and established practitioners, curators and leading figures in the field, each paired with another practitioner for a live conversation that has been sensitively edited for the page. Curated within a structure of five overlapping themes – Bodies, Spaces, Institutions, Communities and Actions – this format produces unexpected insights and accounts of the development of the field. Each theme also contains two provocative essays by leading scholars, thinkers and makers, exploring the conceptual frames in more detail. The result is a collection that is as heterogeneous, ambitious, contradictory and inspiring as the field of Live Art itself. Contributors: Aaron Williamson, Adrian Heathfield, Alan Read, Alastair MacLennan, Alexandrina Hemsley, Amelia Jones, Andrew Mottershead, Andy Field, Anne Bean, Barby Asante, Bryan Biggs, Cassils, Catherine Wood, David A. Bailey, Dominic Johnson, Gary Anderson, George Chakravarthi, Guillermo Gómez-Peña, Hayley Newman, Heike Roms, Helen Paris, James Leadbitter, Jamila Johnson-Small, Jane Trowell, Jen Harvie, Johanna Tuukkanen, John Jordan, John McGrath, Jordan McKenzie, Joshua Sofaer, Katherine Araniello, Kira O'Reilly, Lena Šimić, Leslie Hill, Lois Keidan, Lois Weaver, Manuel Vason, Martin O'Brien, Mary Paterson, Rajni Shah, Rebecca French, Richard Dedomenici, Ron Athey, RoseLee Goldberg, Selina Thompson, Simon Casson and Tim Etchells. Co-published with Live Art Development Agency. Winner of the 2021 TaPRA Edited Collection Prize

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