Im Rahmen der aktuellen Diskussion zur asthetischen und kulturellen Bildung gehen Autorinnen und Autoren unterschiedlicher kulturwissenschaftlicher Disziplinen der Frage nach, was asthetische Erfahrungen sind. Indem sie interdisziplinar sowie asthetisch-transformatorisch arbeiten, koennen sie eroertern, wie sich etwas derart Fluchtiges und der Subjektivitat Verhaftetes empirisch fassen und in Bildungsinstitutionen initiieren und vermitteln lasst. In den Projekten verlassen die Teilnehmerinnen und Teilnehmer den gewohnten Lernort, ubersetzen Materialien in Sprache und Schrift, Texte in Film oder Literatur in Tanz oder werden dazu angehalten, ihre eigenen Wahrnehmungsmuster zu hinterfragen.

This book deals with the critical nature and crucial role of architectural drawings. A manual which is essentially not a manual; it is an elucidation of an elegant manner for practising architecture. Organized around eleven exercises, the book does not emphasize speed, nor incorporate many timesaving tricks typical of drawing books, but rather proposes a slow, meditative process for construing drawings and for drawing constructing thoughts. This is an indispensable reference text and an effective textbook for students seeking to advance their appreciation of the nature and exercise of architectural drawings.

Known as the master of French Romanticism for his energetic paintings, Eugene Delacroix (1798-1863) was also a consummate draftsman. This handsome book, one of the few to explore this topic in depth, provides new insight into Delacroix's drawing practice, paying particular attention to his materials and techniques and the ways in which the artist pushed the boundaries of the medium. The remarkable group of nearly 130 drawings featured here, many of which have been rarely seen, include academic and anatomical studies, sketches from nature, and preparatory drawings related to many of Delacroix's most renowned canvases, among them The Massacre at Chios and Liberty Leading the People.

Italian futurism visualized diverse types of motion, which had been rooted in pervasive kinetic and vehicular forces generated during a period of dramatic modernization in the early 20th century. Yet, as David Mather's sweeping intellectual and art historical scholarship demonstrates, it was the camera-not the engine-that proved to be the primary invention against which many futurist ideas and practices were measured. Overturning several misconceptions about Italian futurism's interest in the disruptive and destructive effects of technology, Futurist Conditions provides a refreshing update to the historical narrative by arguing that the formal and conceptual approaches by futurist visual artists reoriented the possibly dehumanizing effects of mechanized imagery toward more humanizing, spiritual aims. Through its sustained analysis of the artworks and writings of Umberto Boccioni, Giacomo Balla, and the Bragaglia brothers, dating to the first decade after the movement's founding in 1909, Mather's account of their obsession with kinetic motion pivots around a 1913 debate on the place and relative import of photography among traditional artistic mediums-a debate culminating in the expulsion of the Bragaglias, but one that also prompted a range of productive responses by other futurist artists to world-changing social, political, and economic conditions.

Das Buch nimmt die Eickstedt-Sammlung aus Sudindien zum Ausgangspunkt und verbindet ethnologische Forschung im Museum mit postkolonialer Kritik an der Aneignung von Objekten und Fotografien. Dabei vermittelt die Sammlung als ethnohistorische Quellen ein Bild der Gesellschaft Sudindiens in den 1920er-Jahren. Gleichzeitig stellt sich die Frage nach "anderen" Wahrnehmungen: Wer stand mit welcher Intension hinter der Kamera? Und wie interpretiert man die Fotografien und Objekte im heutigen Sudindien? Katja Muller stellt verschiedene Narrative aus Indien und Deutschland nebeneinander und macht damit deutlich, welche theoretischen Zusammenhange und praktischen Machtstrukturen zwischen Objekten, Fotografien und menschlichen Akteuren damals wie heute bestehen.