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This ground-breaking new history of modern art explores the
relationship between art and knowledge from the beginning of the
twentieth century to the present day. Each chapter examines
artistic responses to a particular discipline of knowledge, from
quantum theory and theosophy to cybernetics and ethnic futurisms.
The authors argue that art’s incursion into other intellectual
disciplines is a defining characteristic of both modernism and
postmodernism. Throughout, the volume poses a series of larger
questions: is art a source of knowledge? If so, what kind of
knowledge? And, ultimately, can it contribute to our understanding
of the world in ways that thinkers from other fields should take
seriously? -- .
'Extraordinary. An intellectual feast as well as a visual one'
Edmund de Waal, author of The Hare with Amber Eyes The world comes
to us in colour. But colour lives as much in our imaginations as it
does in our surroundings, as this scintillating book reveals. Each
chapter immerses the reader in a single colour, drawing together
stories from the histories of art and humanity to illuminate the
meanings it has been given over the eras and around the globe.
Showing how artists, scientists, writers, philosophers, explorers
and inventors have both shaped and been shaped by these wonderfully
myriad meanings, James Fox reveals how, through colour, we can
better understand their cultures, as well as our own. Each colour
offers a fresh perspective on a different epoch, and together they
form a vivid, exhilarating history of the world. 'We have projected
our hopes, anxieties and obsessions onto colour for thousands of
years,' Fox writes. 'The history of colour, therefore, is also a
history of humanity.'
The First World War is usually believed to have had a catastrophic
effect on British art, killing artists and movements, and creating
a mood of belligerent philistinism around the nation. In this book,
however, James Fox paints a very different picture of artistic life
in wartime Britain. Drawing on a wide range of sources, he examines
the cultural activities of largely forgotten individuals and
institutions, as well as the press and the government, in order to
shed new light on art's unusual role in a nation at war. He argues
that the conflict's artistic consequences, though initially
disruptive, were ultimately and enduringly productive. He reveals
how the war effort helped forge a much closer relationship between
the British public and their art - a relationship that informed the
country's cultural agenda well into the 1920s.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 1
begins with a short autobiographical memoir written by Bunbury
towards the end of his life, and ends with his marriage to Frances
Horner in 1844. It demonstrates his interest in science, encouraged
by his parents and continued at Cambridge and during travels in
Europe and South America.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 2
covers the years 1844-8, and shows how Bunbury's marriage brought
him into close contact with the geologist Charles Lyell, whom he
greatly admired, and who became his brother-in-law. His diaries
mention attending lectures by Sedgwick and Owen, and socialising
with Babbage and Henslow among others.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 3
covers the years from 1848 to 1856. In 1848 Bunbury published a
well-received account of South Africa, and particularly its natural
history: he had accompanied Sir George Napier, his step-mother's
father, then governor general. Another notable event was a meeting
in Berlin with Alexander von Humboldt.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 4
covers the years 1857-64. Bunbury correctly foresaw in October 1859
that 'Darwin's forthcoming book on Species ... is likely to cause
no little combustion in the scientific world'. He provides a
valuable commentary on its reception over the following months.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 5
covers the years 1865-8, and shows Bunbury's wide reading, from
Latin poetry and military history to new books such as the latest
edition of Lyell's Elements of Geology, as well as an interesting
correspondence between Bunbury, Lyell, Hooker and Darwin about
Agassiz's theories on glaciation.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 6
covers the years 1869-72. Bunbury was less active in scientific
matters than before, but still reading copiously, carrying on a
busy social life, and developing the gardens of his home in
Suffolk. There are many comments on current affairs and politics.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 7
covers the years 1873-7. With advancing age there are many notices
of deaths or illnesses of friends or colleagues, such as Sedgwick,
Agassiz and Lyell, but Bunbury was still enthusiastically
discussing his reading with correspondents.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. Volume 8
covers the years 1878-83. Family and social matters, and comments
on the disturbed political state of Europe, and British military
engagements in Africa and Afghanistan, predominate, although
Bunbury also comments on plants he has seen and books he has read.
Sir Charles James Fox Bunbury (1809-86), the distinguished botanist
and geologist, corresponded regularly with Lyell, Horner, Darwin
and Hooker among others, and helped them in identifying botanical
fossils. He was active in the scientific societies of his time,
becoming a Fellow of the Royal Society in 1851. This nine-volume
edition of his letters and diaries was published privately by his
wife Frances Horner and her sister Katherine Lyell between 1890 and
1893. His copious journal and letters give an unparalleled view of
the scientific and cultural society of Victorian England, and of
the impact of Darwin's theories on his contemporaries. The final
volume covers the years 1884-6. Bunbury's health was declining, but
he kept up his journal- and letter-writing (although many of his
contemporaries had predeceased him), and had many visitors. The
volume ends with tributes written by his many friends.
This ground-breaking new history of modern art explores the
relationship between art and knowledge from the beginning of the
twentieth century to the present day. Each chapter examines
artistic responses to a particular discipline of knowledge, from
quantum theory and theosophy to cybernetics and ethnic futurisms.
The authors argue that art’s incursion into other intellectual
disciplines is a defining characteristic of both modernism and
postmodernism. Throughout, the volume poses a series of larger
questions: is art a source of knowledge? If so, what kind of
knowledge? And, ultimately, can it contribute to our understanding
of the world in ways that thinkers from other fields should take
seriously? -- .
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Life (Paperback)
Keith Richards, James Fox
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R665
R565
Discovery Miles 5 650
Save R100 (15%)
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Ships in 10 - 15 working days
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The long-awaited autobiography of the guitarist, songwriter,
singer, and founding member of the Rolling Stones. Ladies and
gentlemen: Keith Richards.
With The Rolling Stones, Keith Richards created the songs that
roused the world, and he lived the original rock and roll life.
Now, at last, the man himself tells his story of life in the
crossfire hurricane. Listening obsessively to Chuck Berry and Muddy
Waters records, learning guitar and forming a band with Mick Jagger
and Brian Jones. The Rolling Stones's first fame and the notorious
drug busts that led to his enduring image as an outlaw folk hero.
Creating immortal riffs like the ones in "Jumping Jack Flash" and
"Honky Tonk Women." His relationship with Anita Pallenberg and the
death of Brian Jones. Tax exile in France, wildfire tours of the
U.S., isolation and addiction. Falling in love with Patti Hansen.
Estrangement from Jagger and subsequent reconciliation. Marriage,
family, solo albums and Xpensive Winos, and the road that goes on
forever.
With his trademark disarming honesty, Keith Richard brings us the
story of a life we have all longed to know more of, unfettered,
fearless, and true.
Jeffrey Rubinoff is one of the great sculptors in steel of the
second half of the twentieth century. In the 1970s and '80s he
exhibited widely in the United States and Canada alongside Anthony
Caro, Mark di Suvero and George Rickey, among others. However, in
the early 1990s Rubinoff withdrew from the art world altogether and
concentrated on creating an extraordinary sculpture park on Hornby
Island. This book is the first major account of his remarkable
career. The Art of Jeffrey Rubinoff considers Rubinoff's life, work
and ideas from a variety of perspectives. Barry Phipps describes
Rubinoff's working methods; James Purdon examines the meanings that
derive from Rubinoff's use of steel; Joan Pachner focuses on the
formative influence of the abstract Expressionist sculptor David
Smith on his work; Maria Tippett examines Rubinoff through the lens
of the broader arts scene in postwar Canada; and Aaron Rosen
attempts to understand Rubinoff's values and ambitions in light of
his Jewish heritage. Other contributing scholars include Alistair
Rider, Mark E. Breeze, Tom Stammers, Alexander Massouras, David
Lawless and Peter Clarke. The book's foreword is written by the
distinguished Yale historian Jay Winter. Drawing on interviews and
correspondence with Rubinoff himself, as well as uncatalogued
archives and unpublished documents in the artist's possession, The
Art of Jeffrey Rubinoff makes available for the very first time a
significant quantity of primary material, both textual and visual,
for scholars and students of the future.
Publisher's Note: Products purchased from Third Party sellers are
not guaranteed by the publisher for quality, authenticity, or
access to any online entitlements included with the product.
Leverage your Oracle DBA skills on Microsoft SQL Server
2008Microsoft SQL Server 2008 Administration for Oracle DBAs shows
you how to use your experience as an Oracle DBA to get up to speed
quickly on the Microsoft SQL Server platform. Authors with
real-world expertise in both Oracle and SQL Server introduce you to
fundamental concepts, such as SQL Server architecture and core
administration, before guiding you through advanced techniques,
including performance optimization, high availability and disaster
recovery. Platform comparisons, on-the-job examples, and answers to
questions raised by Oracle DBAs learning the SQL Server environment
help build your skills. This practical guide shows you how to:
Identify the components of the SQL Server platform Understand SQL
Server architecture Install and configure SQL Server software and
client components Define and manage database objects Implement and
administer database security Monitor, identify, and resolve
performance issues Design and implement high availability, system
backup, and disaster recovery strategies Automate SQL Server using
built-in scheduling and alerting capabilities Import and export
data to and from SQL Server and other RDBMS platforms Upgrade
existing SQL Server installations and migrate Oracle databases to
SQL Server
The First World War is usually believed to have had a catastrophic
effect on British art, killing artists and movements, and creating
a mood of belligerent philistinism around the nation. In this book,
however, James Fox paints a very different picture of artistic life
in wartime Britain. Drawing on a wide range of sources, he examines
the cultural activities of largely forgotten individuals and
institutions, as well as the press and the government, in order to
shed new light on art's unusual role in a nation at war. He argues
that the conflict's artistic consequences, though initially
disruptive, were ultimately and enduringly productive. He reveals
how the war effort helped forge a much closer relationship between
the British public and their art - a relationship that informed the
country's cultural agenda well into the 1920s.
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