SHE HAS SURRENDERED TO SLUMBER records the flights of imagination, the intense emotional fluctuations, and the outcomes of the contemplating mind of the author as words crafted with passion, tenderness, and subtlety. These poems, written over a period of roughly three years of the author's young life, present the enormous changes that his mind goes through within this timeframe. The poems reflect the constant pursuit of romance, embodied by the idea of death and rebirth. From the moment of the arrival of the mysterious vision of an ideal romantic world, the author goes on to record the death of his old beliefs and his rebirth into a new way of seeing life. Thus he engages himself in a quest to know his true self, and goes through tremendous conflict between indefinable rhythm of the desires of his soul and the worldly commotion of reality. With infinitely elongated moments of pleasure, sadness, confusion, depression, hope, and recovery, Tawsif Anam survives to present a brief look into his dreams through the poems in his book. The name of the book, with the significance of slumber as a mystifying state that the author believes to be a connection between our material existence and the vast transcendental world of unknown knowledge, is a tribute to his grandmother. From the time when these poems were first being written to the final moment of its completion, the author witnessed his beloved grandmother, someone to whom he owes the nourishment of his life and his present well-being greatly, drifting from her joyful old age to a state of physical inactivity and coma. Despite her being in a deep slumber, she still breathes life into her grandson, who would forever remain indebted to her forher love, care, support and encouragement.

'Place in garden, lawn, to beautify landscape.' When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins. Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today-questions like: - Is there something special about something's being art? Can a mass-produced plastic bird have that special something? - If someone likes plastic pink flamingos, does that mean they have bad taste? Is bad taste a bad thing? - Do Featherstone's pink flamingos mean anything? If so, does that depend on what Featherstone meant in designing them? Each chapter opens using a real world example - such as Marcel Duchamp's signed urinal, The Exorcist, and the ugliest animal in the world - to introduce and illustrate the issues under discussion. These case studies serve as touchstones throughout the chapter, keeping the concepts grounded and relatable. With its trademark conversational style, clear explanations, and wealth of supporting features, Introducing Aesthetics and the Philosophy of Art is the ideal introduction to the major problems, issues, and debates in the field. Now expanded and revised for its second edition, Introducing Aesthetics and the Philosophy of Art is designed to give readers the background and the tools necessary to begin asking and answering the most intriguing questions about art and beauty, even when those questions are about pink plastic flamingos.

A compendium of all early Njiqahdda writings. 11 years of philosophy, spirituality, music and art. This book contains the following texts: Njiijn Vortii - Codex I Dremoanti / Hibernation - Codex 1.5 Il' Ijni Talii Humaantii The Path of Liberation from Birth and Death Agni Yoga Serpents In The Sky This edition also includes a variety of published & unpublished interviews, poetry, writings, sigils, photos and visual relics. 142 pages total.

The fact that picture dealing is in the author's genetic make-up becomes apparent very early in this delightful book. Peter Johnson records 50 years of the international art market and his part in some of the most interesting deals of his generation. Through the doors of Peter's London gallery walked (and subsequently onto the pages of Heart in Art) any number of royalty, dukes, prime ministers, auctioneers, international businessmen, sculptors, European nobility, academics, contemporary artists, and even the wife of a U.S. president--some were buyers, some sellers, and others just popped into his office. Each has a part in Peter's story and each enlivens this book. It is also about the author's life in general and his wide-ranging interests--including architecture, flying, gardens, horses, and music--with many entertaining anecdotes.

The volume Landscapes of Affect and Emotion maps out the current approaches on emotion and affect in environmental humanities and interdisciplinary landscape studies. It discusses the contemporary emotional turn in humanities and its relation to space, place and landscape. Emotions and affects are addressed from three main angles: representation and symbolic landscape, place experience and lifeworlds, and landscape as an embodied set of practices. These are studied in terms of the changing human-nature relationship, focusing on politicisations and contestations of landscape as well as boundaries and hybridity between culture and nature.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.