Architecture and the Novel under the Italian Fascist Regime discusses the relationship between the novel and architecture during the Fascist period in Italy (1922-1943). By looking at two profoundly diverse aesthetic phenomena within the context of the creation of a Fascist State art, Billiani and Pennacchietti argue that an effort of construction, or reconstruction, was the main driving force behind both projects: the advocated "revolution" of the novel form (realism) and that of architecture (rationalism). The book is divided into seven chapters, which in turn analyze the interconnections between the novel and architecture in theory and in practice. The first six chapters cover debates on State art, on the novel and on architecture, as well as their historical development and their unfolding in key journals of the period. The last chapter offers a detailed analysis of some important novels and buildings, which have in practice realized some of the key principles articulated in the theoretical disputes.

This open access book is about exploring interesting borderline cases of art. It discusses the cases of gustatory and olfactory artworks (focusing on food), proprioceptive artworks (dance, martial arts, and rock climbing qua proprioceptive experiences), intellectual artworks (philosophical and scientific theories), as well as the vague limits between painting and photography. The book focuses on the author's research about what counts as art and what does not, as well as on the nature of these limits. Overall, the author defends a very inclusive view, 'extending' the limits of art, and he argues for its virtues. Some of the limits discussed concern our senses (our different perceptual modalities), some concern vagueness and fuzzy boundaries between different types of works of art, some concern the amount of human intention and intervention in the process of creation of an artwork, and some concern the border between art and science. In these various ways, by understanding better such borderline cases, Benovsky suggests that we get a better grip on an understanding of the nature of art.

This volume consists of 52 peer-reviewed papers, presented at the International Conference on Sustainable Design and Manufacturing (SDM-19) held in Budapest, Hungary in July 2019. Leading-edge research into sustainable design and manufacturing aims to enable the manufacturing industry to grow by adopting more advanced technologies, and at the same time improve its sustainability by reducing its environmental impact. The topic includes the sustainable design of products and services; the sustainable manufacturing of all products; energy efficiency in manufacturing; innovation for eco-design; circular economy; industry 4.0; industrial metabolism; automotive and transportation systems. Application areas are wide and varied. The book will provide an excellent overview of the latest developments in the Sustainable Design and Manufacturing Area.

This book is an introduction to cosplay as a subculture and community, built around playful spaces and the everyday practices of crafting costumes, identities, and performances. Drawing on new and original ethnographic data, as well as the innovative use of arts-led research, this book adds to our understanding of a popular, global cultural practice. In turn, this pushes forward our understanding of play, fan practices, subcultures, practice-led research, and uses of urban spaces. Cosplay and the Art of Play offers a significant addition to key contemporary debates on the meaning and uses of popular culture in the 21st century, and will be of importance to students and scholars interested in communities, fandom, identity, leisure, participatory cultures, performance, and play.

This book explores the work of artists based in the global south whose practices and methods interrogate and explore the residue of Empire. In doing so, it highlights the way that contemporary art can assist in the un-forgetting of colonial violence and oppression that has been systemically minimized. The research draws from various fields including memory studies; postcolonial and decolonial strategies of resistance; activism; theories of the global south; the intersection between colonialism and the Anthropocene, as well as practice-led research methodologies in the visual arts. Told through the author's own perspective as an artist and examining the work of Julie Gough, Yuki Kihara, Megan Cope, Yhonnie Scarce, Lisa Reihana and Karla Dickens, the book develops a number of unique theories for configuring the relationship between art and a troubled past.

The boys love (BL) genre was created for girls and women by young female manga (comic) artists in early 1970s Japan to challenge oppressive gender and sexual norms. Over the years, BL has seen almost irrepressible growth in popularity and since the 2000s has become a global media phenomenon, weaving its way into anime, prose fiction, live-action dramas, video games, audio dramas, and fan works. BL’s male–male romantic and sexual relationships have found a particularly receptive home in other parts of Asia, where strong local fan communities and locally produced BL works have garnered a following throughout the region, taking on new meanings and engendering widespread cultural effects. Queer Transfigurations is the first detailed examination of the BL media explosion across Asia. The book brings together twenty-one scholars exploring BL media, its fans, and its sociocultural impacts in a dozen countries in East, Southeast, and South Asia—and beyond. Contributors draw on their expertise in an array of disciplines and fields, including anthropology, fan studies, gender and sexuality studies, history, literature, media studies, political science, and sociology to shed light on BL media and its fandoms. Queer Transfigurations reveals the far-reaching influences of the BL genre, demonstrating that it is truly transnational and transcultural in diverse cultural contexts. It has also helped bring about positive changes in the status of LGBT(Q) people and communities as well as enlighten local understandings of gender and sexuality throughout Asia. In short, Queer Transfigurations shows that, some fifty years after the first BL manga appeared in print, the genre is continuing to reverberate and transform lives.

40 artists, filmmakers, illustrators and fans produce original art for a tribute to the sci-fi horror masterpiece Alien to commemorate the 40th anniversary of the film. An artistic tribute to the sci-fi horror masterpiece Alien. 40 artists, filmmakers, and fans have been invited to contribute a piece of original art to commemorate the 40th anniversary of Alien in 2019. Pieces range from alternative posters to gothic interpretations of key scenes. Sketches, process pieces, and interview text accompany each new and unique nightmare. In addition to cover artist Dane Hallett-an Alien: Covenant concept artist-the contributors include Blade Runner 2049 director Denis Villeneuve, Sam Hudecki, and Tanya Lapointe; Star Wars concept artist and creature designer Terryl Whitlatch; and Kong: Skull Island director Jordan Vogt-Roberts, and Jon Wilcox.

Timo Carl presents alternatives to curtain wall facades and other flat boundaries creating autonomous spaces. He investigates facade typologies with multiple material layers to strategize the relationship between buildings and their environment. By revisiting Le Corbusiers seminal brise soleil an alternative reading of the modern project emerges: one that is not based on classical compositional rules, but instead on the dynamic relationships with environmental forces. Finally, an exciting series of project-based investigations sets out innovative ways in which novel deep skins combine energy-conscious performance with the poetics of architecture.

This book offers trans-historical and trans-national perspectives on the image of "the artist" as a public figure in the popular discourse and imagination. Since the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage from the late eighteenth century onwards, artists have increasingly found themselves confronted with the necessity of developing a public persona. In the same period, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media such as the illustrated press, photography and film meant that the needs of both parties could easily be satisfied in both words and images. Thanks to these "new" media, the artist was transformed from a simple producer of works of art into a public figure. The aim of this volume is to reflect on this transformative process, and to study the specific role of the media themselves. Which visual media were deployed, to what effect, and with what kind of audiences in mind? How did the artist, critic, photographer and filmmaker interact in the creation of these representations of the artist's image?

This book examines the gendered dimensions of emotions and the emotional aspects of gender within Byzantine culture and suggests possible readings of such instances. In so doing, the volume celebrates the current breadth of Byzantine gender studies while at the same time contributing to the emerging field of Byzantine emotion studies. It offers the reader an array of perspectives encompassing various sources and media, including historiography, hagiography, theological writings, epistolography, erotic literature, art objects, and illuminated manuscripts. The ten chapters cover a time span ranging from the early to the late Byzantine periods. This diversity is secured by an expanded and enriched exploration of the collection's unifying theme of gendered emotions. The scope and breadth of the chapters also reflect the ways in which Byzantine gender and emotion have been studied thus far, while at the same time offering novel approaches that challenge established opinions in Byzantine studies.

Many modernist and avant-garde artists and authors were fascinated by the occult movements of their day. This volume explores how Occultism came to shape modernist art, literature, and film. Individual chapters examine the presence and role of Occultism in the work of such modernist luminaries as Rainer Maria Rilke, August Strindberg, W.B. Yeats, Josephin Peladan and the artist Jan Svankmaier, as well as in avant-garde film, post-war Greek Surrealism, and Scandinavian Retrogardism. Combining the theoretical and methodological foundations of the field of Esotericism Studies with those of Literary Studies, Art History, and Cinema Studies, this volume provides in-depth and nuanced perspectives upon the relationship between Occultism and Modernism in the Western arts from the nineteenth century to the present day.

Through comparative and integrated case studies, this book demonstrates how aesthetics becomes politics in cultural policy. Contributors from Norway, Sweden and the UK analyse exactly what happens when art is considered relevant for societal development, at both a practical and theoretical level. Cultural policy is seen here as a mechanism for translating values, that through organized and practical aesthetical judgement lend different forms of agency to the arts. What happens when aesthetical value is reinterpreted as political value? What kinds of negotiations take place at a cultural policy ground level when values are translated and reinterpreted? By addressing these questions, the editors present an original collection that effectively centralises and investigates the role of aesthetics in cultural policy research.

Scholarly interest in Art Deco has grown rapidly over the past fifty years, spanning different academic disciplines. This volume provides a guide to the current state of the field of Art Deco research by highlighting past accomplishments and promising new directions. Chapters are presented in five sections based on key concepts: migration, public culture, fashion, politics, and Art Deco's afterlife in heritage restoration and new media. The book provides a range of perspectives on and approaches to these issues, as well as to the concept of Art Deco itself. It highlights the slipperiness of Art Deco yet points to its potential to shed new light on the complexities of modernity.

This Handbook provides the first comprehensive international overview of significant contemporary Indigenous architecture, practice, and discourse, showcasing established and emerging Indigenous authors and practitioners from Australia, Aotearoa New Zealand, the Pacific Islands, Canada, USA and other countries. It captures the breadth and depth of contemporary work in the field, establishes the historical and present context of the work, and highlights important future directions for research and practice. The topics covered include Indigenous placemaking, identity, cultural regeneration and Indigenous knowledges. The book brings together eminent and emerging scholars and practitioners to discuss and compare major projects and design approaches, to reflect on the main issues and debates, while enhancing theoretical understandings of contemporary Indigenous architecture.The book is an indispensable resource for scholars, students, policy makers, and other professionals seeking to understand the ways in which Indigenous people have a built tradition or aspire to translate their cultures into the built environment. It is also an essential reference for academics and practitioners working in the field of the built environment, who need up-to-date knowledge of current practices and discourse on Indigenous peoples and their architecture.

This book examines the use of image and text juxtapositions in conceptual art as a strategy for challenging several ideological and institutional demands placed on art. While conceptual art is generally identified by its use of language, this book makes clear exactly how language was used. In particular, it asks: How has the presence of language in a visual art context changed the ways art is talked about, theorised and produced? Image and Text in Conceptual Art demonstrates how artworks communicate in context and evaluates their critical potential. It discusses international case studies and draws resources from art history and theory, philosophy, discourse analysis, literary criticism and social semiotics. Engaging the critical and social dimensions of art, it proposes three methods of analysis that consider the work's performative gesture, its logico-semantic relations and the rhetorical operations in the discursive creation of meaning. This book offers a comprehensive method of analysis that can be applied beyond conceptual art.

Franz Liszt is well known for his early years as 'super-star' pianist who excited audiences throughout Europe, but his later life is also of great interest. In his final 25 years he sought to achieve his life's aims of promoting new forms of music and giving stronger witness to his Christian faith, while continuing to support his stalwart life partner Princess Carolyne. However, he was to face unexpected problems in the continued negative reception of his music and recrimination in his closest relationship. Drawing on detailed analysis of Liszt's correspondence from his fiftieth year onwards, Peter Coleman approaches his later life as a case study of an older person grappling with a succession of often disturbing life experiences. These included the deaths of two of his children, political upheaval and war within Europe, and a growing realisation of his own past failings. Liszt suffered frequent bouts of depression but never ceased composing music nor steadfastly heeding Christ's command to bear one's cross. This sensitive treatment of an extraordinary individual will appeal to the scholar and general reader alike.

This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult. The manuscript assembles plays seldom read or viewed by English-speaking audiences, archival materials from three Venetian archives, and several secondary sources on baroque, Renaissance, and early modern epistemology in order to forward and argument for understanding the baroque as a gathering of social practices. Such a rethinking of the baroque aims to complement the already lively studies of neo-baroque aesthetics and ethics emerging in contemporary scholarship on (for example) Latin American political art.

This volume is an interdisciplinary consideration of late medieval art and texts, falling into two parts: first, the iconography and context of the great Doom wall painting over the tower arch at Holy Trinity Church, Coventry, and second, Carthusian studies treating fragmentary wall paintings in the Carthusian monastery near Coventry; the devotional images in the Carthusian Miscellany; and meditation for "simple souls" in the Carthusian Nicholas Love's Mirror of the Blessed Life of Jesus Christ. Emphasis is on such aspects as memory, participative theology, devotional images, meditative practice, and techniques of constructing patterns of sacred imagery.

This book is about the historical moment when writers and critics first used the term "realism" to describe representation in literature and painting. While scholarship on realism tends to proceed from an assumption that the term has a long-established meaning and history, this book reveals that mid-nineteenth-century critics and writers first used the term reluctantly, with much confusion over what it might actually mean. It did not acquire the ready meaning we now take for granted until the end of the nineteenth century. In fact, its first definitions came primarily by way of example and analogy, through descriptions of current practitioners, or through fictionalized representations of artists. By investigating original debates over the term "realism," this book shows how writers simultaneously engaged with broader concerns about the changing meanings of what was real and who had the authority to decide this.

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty.

This book, written from the perspective of a designer and educator, brings to the attention of media historians, fellow practitioners and students the innovative practices of leading moving image designers. Moving image design, whether viewed as television and movie title sequences, movie visual effects, animating infographics, branding and advertising, or as an art form, is being increasingly recognised as an important dynamic part of contemporary culture. For many practitioners this has been long overdue. Central to these designers' practice is the hybridisation of digital and heritage methods. Macdonald uses interviews with world-leading motion graphic designers, moving image artists and Oscar nominated visual effects supervisors to examine the hybrid moving image, which re-invigorates both heritage practices and the handmade and analogue crafts. Now is the time to ensure that heritage skills do not atrophy, but that their qualities and provenance are understood as potent components with digital practices in new hybrids.