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.

Hot on the heels of a series of articles published in IdN Magazine in 2005, is Neo-Photo, a photography book that is like no other. This is an amazing survey of work created by a new generation of photographers who use digital technology to combine the disciplines of graphic design and film aesthetics. The images that result are incredible indeed. Co-edited by parissydneytokyo, Neo-Photo features a collection of international artists whose work pushes the boundaries of the photographic medium and challenges the traditional rules, approaches and perceptions of this demanding art form. Photographers of note include Shun Kawakami, Jola Kudela, Frank le Petit, Guillaume Dimanche plus many other great talents.

In this paradigm shifting study, developed through close textual readings and sensitive analysis of artworks, Clare Lapraik Guest re-evaluates the central role of ornament in pre-modern art and literature. Moving from art and thought in antiquity to the Italian Renaissance, she examines the understandings of ornament arising from the Platonic, Aristotelian and Sophistic traditions, and the tensions which emerged from these varied meanings. The book views the Renaissance as a decisive point in the story of ornament, when its subsequent identification with style and historicism are established. It asserts ornament as a fundamental, not an accessory element in art and presents its restoration to theoretical dignity as essential to historical scholarship and aesthetic reflection.

Ruskin's respected treatise on architectural methods and style is presented here complete, with all of the original edition's images. Written and published in the 1840s, this book sees John Ruskin set out his architectural beliefs. A man of deep religiosity, Ruskin was convinced that Gothic architecture was at the very height of beauty and achievement in building design. Even during his prime, Ruskin's opponents felt his staunch, traditionalist take on architecture confining. Despite Ruskin's now-outdated views, this book acts as a detailed history of architecture as it stood in the mid-19th century. The Seven Lamps of the title describe principles which Ruskin viewed essential in building: Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. We find within illustrations of structures and flourishes which Ruskin admires most. His opinions on certain newer designs of the industrial era, and the painstaking restoration of ancient artworks, may be summed up in a single word: desecration.

Fifty two weeks of images to color with pencil or marker! Each group is clustered around the traditional qualities of the visible planets--Sun, Moon, Mercury, Venus, Jupiter, Saturn and Mars, with Earth added for good measure. Use the designs weekly, or all at once, however you want. Information on colors is offered, but you will probably come up with better color combinations than the author! Enjoy!