Disney's animated trailblazing, Dostoyevsky's philosophical neuroses, Hendrix's electric haze, Hitchcock's masterful manipulation, Frida Kahlo's scarifying portraits, Van Gogh's vigorous color, and Virginia Woolf's modern feminism: this multicultural reference tool examines 200 artists, writers, and musicians from around the world. Detailed biographical essays place them in a broad historical context, showing how their luminous achievements influenced and guided contemporary and future generations, shaped the internal and external perceptions of their craft, and met the sensibilities of their audience.

Will Martin just started a group called Wimpy Club as he thinks wimpy is the new cool. It's about new life, new friends, lots of adventures, and lots of stuff that you haven't expected.

If the city is the theatre of urban life, how does architecture act in its many performances? This interdisciplinary book reconstructs the spatial experiments of Art et action, a theatre troupe active in 1920s Paris, that defined five distinct types of modern performance, types which mirror social institutions and events. The analysis focuses on Art et Action's designs for theatre buildings to show how the performance spaces interacted with actors and spectators according to their respective type, thus commenting on the characteristic events of urban life. For scholars of theatre, the study demonstrates the interdependence of spatial design and drama at a crucial moment in the history of contemporary performance. For architects, the work offers a model in theatre for how architecture might act in the daily drama of urban life, supporting current efforts to make our cities more vital and thus more sustainable.

This book explores the interconnections and differentiations between artisanal workshops and alchemical laboratories and between the arts and alchemy from Antiquity to the eighteenth century. In particular, it scrutinizes epistemic exchanges between producers of the arts and alchemists. In the fifteenth and sixteenth centuries the term "laboratorium" uniquely referred to workplaces in which chemical operations were performed: smelting, combustion, distillation, dissolution and precipitation. Artisanal workshops equipped with furnaces and fire in which chemical operations were performed were also known as laboratories. Transmutational alchemy (the transmutation of all base metals into more noble ones, especially gold) was only one aspect of alchemy in the early modern period. The practice of alchemy was also about the chemical production of things--medicines, porcelain, dyes and other products as well as precious metals and about the knowledge of how to produce them. This book uses examples such as the "Uffizi" to discuss how Renaissance courts established spaces where artisanal workshops and laboratories were brought together, thus facilitating the circulation of materials, people and knowledge between the worlds of craft (today s decorative arts) and alchemy. Artisans became involved in alchemical pursuits beyond a shared material culture and some crafts relied on chemical expertise offered by scholars trained as alchemists. Above all, texts and books, products and symbols of scholarly culture played an increasingly important role in artisanal workshops. In these workplaces a sort of hybrid figure was at work. With one foot in artisanal and the other in scholarly culture this hybrid practitioner is impossible to categorize in the mutually exclusive categories of scholar and craftsman. By the seventeenth century the expertise of some glassmakers, silver and goldsmiths and producers of porcelain was just as based in the worlds of alchemical and bookish learning as it was grounded in hands-on work in the laboratory. This book suggests that this shift in workshop culture facilitated the epistemic exchanges between alchemists and producers of the decorative arts."

This volume of the Golden Age of Illustration Series contains Hans Christian Andersen's most famous tale 'The Ugly Duckling', first published in May of 1859. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, W. Heath Robinson, Harry Clarke, Anne Anderson, Milo Winter among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and - most importantly - the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales.

This volume of the Golden Age of Illustration Series contains Hans Christian Andersen's 'The Emperor's New Clothes', first published in May of 1837. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, W. Heath Robinson, Harry Clarke, Milo Winter, Anne Anderson, Edmund Dulac, among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and - most importantly - the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales.

Since the Second World War, art crime has shifted from a relatively innocuous, often ideological crime, into a major international problem, considered by some to be the third-highest grossing criminal trade worldwide. This rich volume features essays on art crime by the most respected and knowledgeable experts in this interdisciplinary subject.

Colour is largely assumed to be already in the world, a natural universal that everyone, everywhere understands. Yet cognitive scientists routinely tell us that colour is an illusion, and a private one for each of us; neither social nor material, it is held to be a product of individual brains and eyes rather than an aspect of things. This collection seeks to challenge these assumptions and examine their far-reaching consequences, arguing that colour is about practical involvement in the world, not a finalized set of theories, and getting to know colour is relative to the situation one is in – both ecologically and environmentally. Specialists from the fields of anthropology, psychology, cinematography, art history and linguistics explore the depths of colour in relation to light and movement, memory and landscape, language and narrative, in case studies with an emphasis on Australian First Peoples, but ranging as far afield as Russia and First Nations in British Columbia. What becomes apparent, is not only the complex but important role of colours in socializing the world; but also that the concept of colour only exists in some times and cultures. It should not be forgotten that the Munsell Chart, with its construction of colours as mathematical coordinates of hues, value and chroma, is not an abstraction of universals, as often claimed, but is itself a cultural artefact.

- Provides both students and artists with a practice-orientated guide to socially engaged art practices in the twenty-first century. - Features first-hand insight into the individual processes and methodologies of twenty-eight established artists including: Kim Abeles, Christopher Blay, Joseph DeLappe, Mary Beth Heffernan, Chris Johnson, Rebekah Modrak, Praba Pilar, Tabita Rezaire, Sylvain Souklaye, and collaborators Victoria Vesna and Siddharth Ramakrishnan. - Demonstrates a range of creative projects that engage different forms of technologies for readers interested in making the social turn in their artistic practice, and offers creative prompts that readers can respond to in their own practices.

This book focuses on key challenges related to conducting research on mediatisation, presenting the most current theoretical, empirical, and methodological challenges and problems, addressing ignored and less frequently discussed topics, critical and controversial themes, and defining niches and directions of development in mediatisation. With a focus on the under-representation of certain topics and aspects, as well as methodological, technological, and ethical dilemmas, the chapters consider the main critical objections formulated against mediatisation studies and exchange critical positions. Moving beyond areas of common focus – culture, sport, and religion – to emerging areas of study such as fashion, the military, business, and the environment, the book then offers a critical assessment of the transformation of fields and the relevance of new and dynamic (meta)processes including datafication, counter-mediatisation, and platformisation. Charting new paths of development in mediatisation, this book will be of interest to scholars and students of mediatisation, media studies, media literacy, communication studies, and research methods.

Peg Rawes examines a "minor tradition" of aesthetic geometries in ontological philosophy. Developed through Kant's aesthetic subject she explores a trajectory of geometric thinking and geometric figurations--reflective subjects, folds, passages, plenums, envelopes and horizons--in ancient Greek, post-Cartesian and twentieth-century Continental philosophies, through which productive understandings of space and embodies subjectivities are constructed.
Six chapters, explore the construction of these aesthetic geometric methods and figures in a series of "geometric" texts by Kant, Plato, Proclus, Spinoza, Leibniz, Bergson, Husserl and Deleuze. In each text, geometry is expressed as a uniquely embodies "aesthetic" activity because each respective geometric method and figure is imbued with aesthetic "sensibility" and geometric "sense" (rather than as disembodies scientific methods). An ontology of aesthetic geometric methods and figures is therefore traced from Kant's Critical writings, back to Plato and Proclus Greek philosophy, Spinoza and Leibniz's post-Cartesian philosophies, and forwards to Bergson's "duration" and Husserl's "horizons" towards Deleuze's philosophy of sense.

LATE SAXON AND VIKING ART by T. D. KJENDRIGK M. A., HOIST. D. EITT., F. B. A., F. S. A. With 96 plates and 21 line illustrations in the text METHUEN GO. LTD. LONDON 36 Essex Street, Strand, W. First published in 7949 CATALOGUE NO. 5IIO U TEXT AJO PLATES PRINTED IN GREAT BRITAIN BY BOTLER AND TANNER LTD., FROME AND LONDON If 35 L-PREFACE IF this book has merits, they are due to the help I have received from my many most generous and ingenious colleagues. In particular, I acknowledge my indebtedness to Francis Wormald, who has instructed me in the matter of the manuscripts, to Dr. F. Saxl, and to Sir Alfred Clapham, who has encouraged and corrected me with a characteristically kindly wisdom in all the essays that I now present to the reader. As in the preface to the first volume, I have to thank many incumbents, librarians, and curators, for allowing me to take photographs, and also the editors and authorities who have given me per mission to reproduce illustrations, the source of which is named in the list of plates and figures and I must thank especially the Editors of Antiquity and the Council of the British Archaeological Association for letting me make use of material in two previously published papers. I should like, furthermore, to record how much I owe to Robert Freyhan, Ernst Kitzinger, Lawrence Stone, and Margaret Wrigley, and all my other friends who have accompanied me in the survey of the stone crosses, a task in which we were assisted by an ample grant from the Leverhulme Trustees. In this matter it is a duty to record with gratitude how much I have learnt from the wise and charming writings on the Northumbrian crosses by the great antiquary, Mr. W. G. Colling wood, whoseworks and, especially, his great series of drawings, still remain the foundation upon which all studies of these carvings must be built. Finally, I acknowledge an irre deemable debt to my colleague Elizabeth Senior, wko was killed in 1941, for she gave me invaluable assistance with her camera and her sketch-book, and I know well that her sensible suggestions and courageous opinions have brightened and improved almost every chapteaf I have written. Flet tamen admowtn moius, Jtflissa, tui. BRTTISH MUSEUM CONTENTS CHAP. PAOE PREFACE Vii I WINCHESTER ILLUMINATION THE MAIN DEVELOP MENT I II WINCHESTER ILLUMINATION I THE SCIENTIFIC BOOKS 23 III WINCHESTER ILLUMINATION INITIALS 27 IV THE INHABITED SCROLL 39 V SCULPTURE WEST SAXON FIGURE-CARVINGS 42 VI SCULPTURE I NORTHUMBRIAN STYLES 55 VII SCULPTURE ROUND-SHAFTS OF NORTH MERCIA 68 VIII SCULPTURE DANISH MERCIA AND THE ANGLIAN . STYLES 7 7 IX SCULPTURE I LONDON AND SUSSEX 83 X VIKING ART THE JELLINGE STYLE 87 XI VIKING ART THE RINGERIKE STYLE 98 XII VIKING ART I THE URNES STYLE IIO XHI THE NORMAN CONQUEST AND AFTER MANUSCRIPTS 128 XIV THE NORMAN CONQUEST AND AFTER I SCULPTURE 1 39 INDEX I 49, TEXT ILLUSTRATIONS ftO. PAOK 1 Saxon initials ninth century 29 2 Saxon initials tenth century 30 3 Initial, Junius 11, f. 26 33 Bodleian Library 4 Fragment of cross, Gainford, Go. Durham 62 Durham Cathedral Library 5 Gross-shaft, Whalley, Lanes 64 Drawing by W. G. Collingwood 6 Gross-fragments from Yorkshire 66 Drawings by W. G. Collingwood 7 Distribution of round-shaft crosses 69 By permission of the British Archaeological Association 8 Detail of horse-collar, Denmark 88 By permission of Antiquity 9 Detail from Harald Gormssons monument, Denmark 89 Bypermission of Antiquity 10 Cross-shaft, Otley, Yorks 91 Drawing by W. G. Collingwood u Cross-shaft, Sockburn, Go. Durham 93 By permission of the Durham and Northumberland Archaeological Society 12 Detail of Franks Gasket 96 By permission of Antiquity 13 Bronze plate from weather-vane, Winchester 101 By permission of the Society of Antiquaries of London 14 Ornamental copper plates, Smithfield 101 By permission of ihe London Museum 15 Detail, Bury St. Edmunds Psalter, Vatican Library 103 1 6 Detail of cross-shaft, Leeds 108 Drawing by W G...