This co-edited volume offers new insights into the complex relations between Brussels and Vienna in the turn-of-the-century period (1880-1930). Through archival research and critical methods of cultural transfer as a network, it contributes to the study of Modernism in all its complexity. Seventeen chapters analyse the interconnections between new developments in literature (Verhaeren, Musil, Zweig), drama (Maeterlinck, Schnitzler, Hofmannsthal), visual arts (Minne, Khnopff, Masereel, Child Art), architecture (Hoffmann, Van de Velde), music (Schoenberg, Ysaye, Kreisler, Kolisch), as well as psychoanalysis (Varendonck, Anna Freud) and cafe culture. Austrian and Belgian artists played a crucial role within the complex, rich, and conflictual international networks of people, practices, institutions, and metropoles in an era of political, social and technological change and intense internationalization. Contributors: Sylvie Arlaud, Norbert Bachleitner, Anke Bosse, Megan Brandow-Faller, Alexander Carpenter, Piet Defraeye, Clement Dessy, Aniel Guxholli, Birgit Lang, Helga Mitterbauer, Chris Reyns-Chikuma, Silvia Ritz, Hubert Roland, Inga Rossi-Schrimpf, Sigurd Paul Scheichl, Guillaume Tardif, Hans Vandevoorde.

From Eugene Delacroix's interpretation of the 1830 French revolution to Uli Edel's version of the Baader-Meinhof Gang, artistic representations of historical subjects are appealing and pervasive. Movies often adapt imagery from art history, including paintings of historical events. Films and art shape the past for us and continue to affect our interpretation of history. While historical films are often argued over for their adherence to "the facts," their real problem is realism: how can the past be convincingly depicted? Realism in the historical film genre is often nourished and given credibility by its use of painterly references. This book examines how art-historical images affect historical films by going beyond period detail and surface design to look at how profound ideas about history are communicated through pictures. Art and the Historical Film: Between Realism and the Sublime is based on case studies that explore the links between art and cinema, including American independent Western Meek's Cutoff (Kelly Reichardt, 2010), British heritage film Belle (Amma Asante, 2013), and Dutch national epic Admiral (Roel Reine, 2014). The chapters create immersive worlds that communicate distinct ideas about the past through cinematography, production design, and direction, as the films adapt, reference, and transpose paintings by artists such as Rubens, Albert Bierstadt, and Jacques-Louis David.

As you proceed on your path to personal growth and want to gain insight into what prevents you from being the husband, wife, parent, or creative person you were born to be, benefit from this inspiring and easy-to-use workbook by T.D. Jakes, author of the "New York Times "bestseller "Let It Go: Forgive So You Can Be Forgiven. "
More than a companion piece to "Let It Go, "this is a guide through an "exhilarating journey that will enable you to finally reach the potential you know is inside you and take you to a level of personal success you may have only dreamed of until now," says Bishop Jakes. This workbook outlines the fundamentals of forgiveness and provides the spiritual and psychological tools to acknowledge and process feelings that may have held you back from fulfilling your greatest potential.
With this workbook learn how to:
- Sever the chains with which your past has held you captive, and launch yourself into a brighter future than you may have imagined.
- Break the powerful-but-invisible negative bonds that connect you in damaging ways to people who have hurt or offended you.
- Be set free to dream again and to pursue the vision you have for your life.
- Move beyond depression and bitterness and experience the freedom of forgiveness.

This work sets out to consider the fate of creativity and forms of cultural production as they fall into and between the regimes of cultural heritage law and intellectual property law. It examines and challenges the dualisms that ground both regimes, exposing their (unsurprising) reflection of occidental ways of seeing the world. The work reflects on the problem of regulating creativity and cultural production according to Western thought systems in a world that is not only Western. At the same time, it accepts that the challenge in taking on the dualisms that hold together the existing legal regimes regulating creativity and cultural production lies in a critically nuanced approach to the geo-political distinction between the West and the rest. Like many of the distinctions considered in this book, this is one that holds and does not hold.

Launched in 1994 by Laurence Ng, and morphing quickly from a "how-to" magazine tutoring its readership in the intricacies of new design technologym, into a "what to" magazine aiming to inspire and reflect the booming community around it, "IdN" is at the forefront of contemporary design. Today it is well established as a global meeting place for designers. The "IdN 15th Anniversary Edition: What Do You Love?" is a massive 452-page hardcover featuring specially commissioned work from over 250 of the highly talented creators who have collaborated with the magazine over the last decade and a half, sharing their thoughts on the past; and their visions of the future. These include Aiden Kelly, Baku Maeda, Creative Time, Exopolis, Head Gear Animation, Jon Burgerman, Live Evil Empire, Lost in Space, Mark Jenkins, Musa Collective, Neubau, Nikosono, Onesize, Paris Hair, Pomme Chan, Shilo, Tomato, Slingshot London, Sweden Graphics, The Designers Republic, Via Grafik, Wonksite, YOK, Linda Zacks, Zetka and Zip Design. A DVD supplies more than 100 minutes of motion graphics with over 80 animations, short films, TV commercials, interviews, studio tours and music videos.

In his influential essay "Provisional Painting," Raphael Rubinstein applied the term "provisional" to contemporary painters whose work looked intentionally casual, dashed-off, tentative, unfinished or self-cancelling; who appeared to have deliberately turned away from "strong" painting for something that seemed to constantly risk failure or inconsequence. In this collection of essays, Rubinstein expands the scope of his original article by surveying the historical and philosophical underpinnings of provisionality in recent visual art, as well as examining the works of individual artists in detail. He also engages crucial texts by Samuel Beckett and philosopher Gianni Vattimo. Re-examining several decades of painting practices, Rubinstein argues that provisionality, in all its many forms, has been both a foundational element in the history of modern art and the encapsulation of an attitude that is profoundly contemporary.