The Emerald Archive is a novel in verse about a Jewish-Iranian emigre family living in Manhattan. The book is a theme and variations. It opens with a three-page prose "theme" that summarizes the plot of the entire book. The remaining pages are a series of poems that function as a collection of variations on the theme. The story unfolds through the poems. The final page, in prose, ties together the themes of the book. The major characters of The Emerald Archive include a high-earning dental surgeon and his depressive wife, a gay librarian, an accounting student, a stripper, a concert pianist and a Park Avenue psychoanalyst. There are numerous minor characters.

This volume examines the interface between the teachings of art and the art of teaching, and asserts the centrality of aesthetics for rethinking education. Many of the essays in this collection claim a direct connection between critical thinking, democratic dissensus, and anti-racist pedagogy with aesthetic experiences. They argue that aesthetics should be reconceptualized less as mere art appreciation or the cultivation of aesthetic judgment of taste, and more with the affective disruptions, phenomenological experiences, and the democratic politics of learning, thinking, and teaching. The first set of essays in the volume examines the unique pedagogies of the various arts including literature, poetry, film, and music. The second set addresses questions concerning the art of pedagogy and the relationship between aesthetic experience and teaching and learning. Demonstrating the flexibility and diversity of aesthetic expressions and experiences in education, the book deals with issues such as the connections between racism and affect, curatorship and teaching, aesthetic experience and the common, and studying and poetics. The book explores these topics through a variety of theoretical and philosophical lenses including contemporary post-structuralism, psychoanalysis, phenomenology, critical theory, and pragmatism.

James Fitch shows how American architecture displays qualities which can safely be described as typically American. There are many areas in which our architecture is distinguishable from that of the rest of the world. The single family house, for example, shares with its foreign contemporaries the basic elements of plan, and yet the way in which these elements are organized into a whole gives our houses certain qualities which we can call uniquely American.

"(Re)Thinking "Art": A Guide for Beginners" is a primer that considers the term "art," what it means and why it matters. Rather than being about any particular sort of art --visual or otherwise-- the book addresses the idea of "art" in all, in all its messy complexity, and offers meaningful access to the vast array of human products to which it refers.
Written by an award-winning teacher as a response to students' ongoing challenge, "What is 'art', anyway, and why should I care?"
Aims to bring readers into a meaningful relationship with art and teaches them to think critically and creatively about it - and by extension, about anything else
Provides an ideal introduction to the field for students and anyone interested in art today
Offers a jargon-free, common-sense basis from which to approach the theories that dominate the art world today, for readers who may wish to pursue them further

'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.

In here is an offering. An offering designed to enlighten and inspire anyone who is on the less traveled road laid out by the 12 steps of recovery. I say less traveled because the numbers of true recoverees is relatively small in comparison to the numbers of people caught in addictions. This collection has been many, many years in the making. I hope that it may bring some light and maybe a little humor to a relatively dark subject.I have tried not to offend sensitive eyes and pallets but there is some language used in the cramped world of users that works when other language doesn't, and some of it is in this collection. I have refrained from vulgarity however and if you can tolerate some compromise I am sure you will be pleasantly rewarded. If you are new to recovery you may be surprised at some of the things here that you thought no one else had ever thought.It is important to remember that the common thread in addiction is the lie that you are the only one who has ever done the things you are doing. There is only so much dysfunction in the world, and when you have been on the road of recovery for a while it becomes amazingly redundant. Everybody is stunned to find out they are not alone in their weirdness. Stunned and then relieved to find out that there is a way out.The bottom line is that we give up a life of using for a life of service. When you find this and come to terms with serving people who usually don't care, and you serve them anyway, then and only then will you start receiving the rewards that await you.

Building upon her previous work on everyday aesthetics, Yuriko Saito argues in this book that the aesthetic and ethical concerns are intimately connected in our everyday life. Specifically, she shows how aesthetic experience embodies a care relationship with the world and how the ethical relationship with others, whether humans, non-human creatures, environments, or artifacts, is guided by aesthetic sensibility and manifested through aesthetic means. Weaving together insights gained from philosophy, art, design, and medicine, as well as artistic and cultural practices of Japan, she illuminates the aesthetic dimensions of various forms of care in our management of everyday life. Emphasis is placed on the experience of interacting with others including objects, a departure from the prevailing mode of aesthetic inquiry that is oriented toward judgment-making from a spectator’s point of view. Saito shows that when everyday activities, ranging from having a conversation and performing a care act to engaging in self-care and mending an object, are ethically grounded and aesthetically informed and guided, our experiences lead to a good life.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Artists have always known intuitively what science is just beginning to discover: that creating a visual image through any medium can produce physical and emotional benefits for both the creator as well as those who view it. Most important, you don't need to think of yourself as an artist or even believe you have any "talent" to tap into the healing powers of art.

In this remarkable testament to the power of creativity, Barbara Ganim shows step-by-step how to use art to heal body, mind, and spirit. By using guided meditation and artistic techniques, you can gain insight and clarity into depression, anxiety, rage, and even illnesses, including cancer, arthritis, and AIDS.

At once inspirational and instructive, "Art and Healing" will teach you how to connect with negative, painful, and even repressed emotions and then express them through drawing, painting, sculpture, or collage. Releasing these feelings through the creative process frees up the immune system and clears the mind, allowing the body to fight off disease and begin to heal emotional wounds. Filled with actual stories from those who have triumphed over adversity and with more than a hundred different pieces of artwork created using this groundbreaking method, "Art and Healing" is sure to provide the tools needed for healing body and spirit.

This book aims to present concepts, knowledge and institutional settings of arts management and cultural policy research. It offers a representation of arts management and cultural policy research as a field, or a complex assemblage of people, concepts, institutions, and ideas.

This book outlines six interactive installation works that form a body of research concerned with the development of interactive, responsive installation works that use the gestures of the unencumbered human body as their central activation and control mechanism. They are therefore an exploration of interactivity, interface technologies and approaches to mapping the sensed data derived from movement in the installation space, onto sound and vision generation schemes. I have conditioned this exploration with a desire to produce art installations; three-dimensional environments that occupy an entire gallery space. The installations were intended to be immersive, and to engage the 'inhabitant' in a direct, visceral and dynamic way. It was intended that the visitor to the installation would require no prior knowledge of the system and, additionally, would require no knowledge of musical practice or the visual arts.