This book examines new forms of representation that have changed our perception and interpretation of the humanities in an Asian, and digital, context. In analyzing written and visual texts, such as the use of digital technology and animation in different works of art originating from Asia, the authors demonstrate how literature, history, and culture are being redefined in spatialized relations amid the trend of digitization. Research studies on Asian animation are in short supply, and so this volume provides new and much needed insights into how art, literature, history, and culture can be presented in innovative ways in the Asian digital world. The first section of this volume focuses on the new conceptualization of the digital humanities in art and film studies, looking at the integration of digital technologies in museum narration and cinematic production. The second section of the volume addresses the importance of framing these discussions within the context of gender issues in the digital world, discussing how women are represented in different forms of social media. The third and final section of the book explores the digital world's impacts on people's lives through different forms of digital media, from the electromagnetic unconscious to digital storytelling and digital online games. This book presents a novel contribution to the burgeoning field of the digital humanities by informing new forms of representation and interpretations, and demonstrating how digitization can influence and change cultural practices in Asia, and globally. It will be of interest to students and scholars interested in digitization from the full spectrum of humanities disciplines, including art, literature, film, music, visual culture, media, and animation, gaming, and Internet culture. "This is a well-written book, and I enjoyed reading it. The first impression of the book is that it is very innovative - a down-to-the-earth academic volume that discusses digital culture." - Professor Anthony Fung, Professor, Director, School of Journalism and Communication, The Chinese University of Hong Kong "This book has contributed to the existing field of humanities by informing new forms of representation and interpretations, and how digitization may change cultural practices. There is comprehensive information on how the humanities in the digital age can be applied to a wide range of subjects including art, literature, film, pop music, music videos, television, animation, games, and internet culture." - Dr Samuel Chu, Associate Professor, The Faculty of Education, The University of Hong Kong

In this study, the author explores how Conrad, T.S. Eliot, Woolf, Joyce, Faulkner, Hemingway, Huxley and others responded to the immediate challenges of their time, to the implications of Freudian psychology, molecular theory, relativist theory, and the general weakening of religious faith. Assuming that artists and writers, in coping with those problems, would develop techniques in many ways comparable, even where there was no direct contact, he positions modernist literature within the context of contemporary painting, architecture and sculpture, thereby providing some interesting insights into the nature of the literary works themselves.

In For the Love of Rome, John Ferris conveys his excitement in discovering the city of Rome through language that moves those unfamiliar with the enchanted city, as well as those who have often been there. The book is not about wars, persecutions, internal struggles for power within Roman and Vatican rule, nor cultural development. As Ferris said, "The book is about our experiences in mid-1960s and -1970s] Rome, what drew my wife and me there, and what we learned by seeing and reading." The style is witty, amusing, and unfailingly interesting as he relates historical anecdotes and reveals Rome's impact on various major figures, including Charles Dickens, James Joyce, and many more.

Based on the words and experiences of the people involved, this book tells the story of the community arts movement in the UK, and, through a series of essays, assesses its influence on present day participatory arts practices. Part I offers the first comprehensive account of the movement, its history, rationale and modes of working in England, Northern Ireland, Scotland and Wales; Part II brings the work up to the present, through a scholarly assessment of its influence on contemporary practice that considers the role of technologies and networks, training, funding, commissioning and curating socially engaged art today. The community arts movement was a well-known but little understood and largely undocumented creative revolution that began as part of the counter-cultural scene in the late 1960s. A wide range of art forms were developed, including large processions with floats and giant puppets, shadow puppet shows, murals and public art, events on adventure playgrounds and play schemes, outdoor events and fireshows. By the middle of the 1980s community arts had changed and diversified to the point where its fragmentation meant that it could no longer be seen as a coherent movement. Interviews with the early pioneers provide a unique insight into the arts practices of the time. Culture, Democracy and the Right to Make Art is not simply a history because the legacy and influence of the community arts movement can be seen in a huge range of diverse locations today. Anyone who has ever encountered a community festival or educational project in a gallery or museum or visited a local arts centre could be said to be part of the on-going story of the community arts. This book is open access and available on www.bloomsburycollections.com . It is funded by the University of Manchester.

An intellectual history of contrasting ideas around the power of the arts to bring about personal and societal change - for better and worse. A fascinating account of the value and functions of the arts in society, in both the private sphere of individual emotions and self-development and public sphere of politics and social distinction.

'The scientific techniques described encompass relevant examples of forgery detection and of authentication. The book deals, to name a few, with the Chagall, the Jackson Pollock and the Beltracchi affairs and discusses the Isleworth Mona Lisa as well as La Bella Principessa both thought to be a Leonardo creation. The authentication, amongst others, of two van Gogh paintings, of Vermeer's St Praxedis, of Leonardo's Lady with an Ermine and of Rembrandt's Old Man with a Beard are also described.'Over the last few decades there has been a disconcerting increase in the number of forged paintings. In retaliation, there has been a rise in the use, efficiency and ability of scientific techniques to detect these forgeries. The scientist has waged war on the forger.The Scientist and the Forger describes the cutting-edge and traditional weapons in this battle, showing how they have been applied to the most notorious cases. The book also provides fresh insights into the psychology of both the viewer and the forger, shedding light on why the discovery that a work of art is a forgery makes us view it so differently and providing a gripping analysis of the myriad motivations behind the most egregious incursions into deception.The book concludes by discussing the pressing problems faced by the art world today, stressing the importance of using appropriate tools for a valid verdict on authenticity. Written in an approachable and amenable style, the book will make fascinating reading for non-specialists, art historians, curators and scientists alike.

This is a landmark study on Aby Warburg's life and work, translated into English.In ""Aby Warburg and Anti-Semitism"", Charlotte Schoell-Glass provides an unprecedented look at the life and writings of cultural critic Aby Warburg through the prism of Warburg's little-known political views. Schoell-Glass argues provocatively based on archival research that Warburg's work and teachings developed as a reaction to the growing anti-Semitism in Germany, which he saw as a threat to classical education and university scholarship. Translated into English for the first time, ""Aby Warburg and Anti-Semitism"" sheds much needed light on Warburg's views on Judaism and the politics of his time.Aby Warburg, scion of a well-known Jewish banking family in Hamburg, sacrificed his birthright to pursue a career as a private scholar. As an independent art historian, he devoted himself almost exclusively to reinterpreting the revival of antiquity within the Renaissance, urging other art historians to approach their work as a brand of the larger study of image making and philosophy. In this study, Schoell-Glass examines Warburg's most influential essays on Durer, Rembrandt, and the Sassetti Chapel and his most innovative concepts - the accessories of motion, the pathos formula, and the afterlife of antiquity - to illustrate how Warburg persistently showed a deep concern over a disappointing and unstable outside world within his own work. Schoell-Glass shows how Warburg attempts to make a response to anti-Semitism the only way he knew how, despite his awareness of the diminishing societal relevance of that response.From this study of Warburg, Schoell-Glass produces a multilayered case study of the encounter between twentieth-century politics and scholarship. Art historians, German historians, and scholars of Jewish studies and cultural studies will be grateful for this volume.

This book offers readers an understanding of the theoretical framework for the concept of Arts Talk, provides historical background and a review of current thinking about the interpretive process, and, most importantly, provides ideas and insights into building audience-centered and audience-powered conversations about the arts.

Defining over 400 terms and phrases that have recently entered discourse on the visual arts, this is the first reference book specializing in explaining and applying theoretical terminology in contemporary art. Since the early 1970s, the vocabulary used to discuss visual art has expanded radically, leaving many teachers, students, artists, and critics without the accurate definitions necessary for fruitful discourse on contemporary culture. This glossary not only serves as a dictionary but as a guide to current theory and criticism of visual art and culture. Terms can be accessed alphabetically or thematically; the significant cross referencing makes this an easy dictionary to use.

Many contemporary art terms have been borrowed from other disciplines or are traditionally employed in the visual arts but have been adapted for use in the contemporary art world and have therefore been assigned specific or specialized applications. These loan terms have increased the likelihood for confusion between old and new definitions, so where possible the authors have applied the terms to works of art or some aspect of visual culture. Most art glossaries and dictionaries concentrate primarily on artistic production in the visual arts--movements, styles, and names. As a complement to these types of works, this glossary of theoretical terms is essential for anyone studying contemporary visual arts and visual culture in general.

In this major new book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?

A study of controversy in the arts, and the extent to which such controversies are socially rather than just aesthetically conditioned. The collection pays special attention to the vested interests and the social dynamics involved, including class, religion, culture, and - above all - power.

This edited book discusses the exciting field of Digital Creativity. Through exploring the current state of the creative industries, the authors show how technologies are reshaping our creative processes and how they are affecting the innovative creation of new products. Readers will discover how creative production processes are dominated by digital data transmission which makes the connection between people, ideas and creative processes easy to achieve within collaborative and co-creative environments. Since we rely on our senses to understand our world, perhaps of more significance is that technologies through 3D printing are returning from the digital to the physical world. Written by an interdisciplinary group of researchers this thought provoking book will appeal to academics and students from a wide range of backgrounds working or interested in the technologies that are shaping our experiences of the future.

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This book explores post-communist thresholds as materializations of a specific crisis of modern European identity that was caused by the existence and sudden breakdown of Soviet-type communism. It shows how post-communist thresholds emerge where relics from the communist experience continue disrupting the routines and rhythms of a modern life and confront Europeans with cultural experiences, affects and material realities of the 'enlightened world' which they usually seek to repress or ignore. In exploring and writing through art projects which engage with the psychosocial fabric of such post-communist thresholds, this book finds ways of speaking and thinking through these transitory and paradox sites, and asks what we can say about other or new worlds, about new beginnings and endings as well as about decolonial and ethical ways of relating to the other when assessing the status quo of European modernity from within its liminal and crisis-driven sphere.