There has been much scaremongering about the 'death of the book', and how, as words find new ways and means of transmission, young people might gradually begin to shun writing. In the digital age, text becomes information, and information strives to become free. But what value can text hold in the sphere of visual art? How is such text different from poetry? Can the poetic itself be visual art, or is text in this context consigned to the realms of gimmick and catchphrase? Looking at the work of a broad range of artists including Bruce Nauman, Julien Breton, Jeremy Deller, Takashi Murakami, Tracey Emin, Christian Boltanski and many more, The Word is Art examines each of these questions, contending above all that in the digital and online age, words have become more important than ever. With the advent of texting and social media, many predicted the debasement of language, and some have pointed to evidence of this in our so-called 'post-truth' culture. Artist Michael Petry demonstrates that, on the contrary, words remain critical, powerful and central to art practice. Digital communication has seen the word as text permeate life in ways that the poets and artists of yesterday could never have imagined. Presenting a brief history of word- and book-based art, and examining major areas where the word has dominated artistic practice, this book takes us on a fascinating and richly illustrated global tour of diverse contemporary art forms. With 250 illustrations in colour

Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the `author' of such a work? And just what is the difference between a work of art and a work of craft? New in paperback, the first book to highlight and explore the way artists collaborate with artisans and craftspeople to realise their work. The Art of Not Making tackles explores the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in creating some of today's most innovative and highly sought-after works of art. The book analyses hundreds of artworks by the most important international artists, including Chris Burden, Louise Bourgeois, Matthew Barney, Grayson Perry, Mona Hatoum, Ai Weiwei, Daniel Buren, Carsten Hoeller, Mark Wallinger, Kiki Smith, Fred Wilson, Pae White, Tony Cragg, Roni Horn, Liam Gillick, Sherrie Levine, Ugo Rondionone, Subodh Gupta, Kara Walker and Maurizio Cattelan. `Enjoyable ... Petry clearly knows his stuff'- Art Quarterly `Timely...Petry has identified a significant art world trend' - The Art Newspaper `Glorious' - Harper's Bazaar `A handsome volume...provides pause for thought, and should be commended for drawing attention to the ideas of collaboration' - Ceramic Review `Refreshingly fun to read and look at' - State of Art `The arguments presented in this glossy erudite art book are bold, intriguing ... beautiful' - GT (Gay Times)

Die Schadensregulierung im Bereich der Arzthaftung ist stetig Neuerungen ausgesetzt, die zu erheblichen Problemen bei der Schadensberechnung fuhren. Entsprechend mannigfaltig sind die hierzu vertretenen Ansichten in Literatur und Rechtsprechung. Insbesondere in Hinblick auf die umfassenden Anderungen im Bereich des Schmerzensgeldes gestaltet sich die Bemessung der Schadenshohe schwierig, was nicht zuletzt durch eine uneinheitliche Rechtsprechung verstarkt wird. Als weiterer Problembereich sei die Evaluierung zu leistender Unterhaltszahlungen als Schadensausgleich genannt. Die in diesem Buch enthaltenen Beitrage setzen sich nicht nur in darstellender wie auch kritischer Weise mit den Besonderheiten der Thematik auseinander, sie geben daruber hinaus Anregungen fur die alltagliche Regulierungspraxis mit dem Ziel eines sachgerechten Schadensausgleichs."

When I was at my current work, I would receive my inspirations for the next thing to write in my book. I was experiencing the story as I wrote it. The jokes I would laugh at and the adventure I would live it. I did not receive the ending until a couple of weeks before I wrote it. Even I did not know how it would end. This is like the never ending story where you forget what time or day it is when you read it. I still re-read it with enjoyment like someone else wrote it. You feel this story like you are there! I do. The characters are alive to me.

Johann Wolfgang von Goethe, although best known for his literary work, was also a keen and outspoken natural scientist. In the second polemic part of Zur Farbenlehre (Theory of Colours), for example, Goethe attacked Isaac Newton's ground-breaking revelation that light is heterogeneous and not immutable, as was previously thought.This polemic was unanimously rejected by the physicists of the day, and has often been omitted from compendia of Goethe's works. Indeed, although Goethe repeated all of Newton's key experiments, he was never able to achieve the same results. Many reasons have been proposed for this, ranging from the psychological - such as a blind hatred of Newtonism, self-deceit and paranoid psychosis - to accusations of incapability - Goethe simply did not understand the experiments. Yet Goethe was never to be dissuaded from this passionate conviction.This translation of Goethe's polemic, published for the first time in English, makes it clear that Goethe did understand the thrust of Newton's logic. It demonstrates that Goethe's resistance to Newton's theory stemmed from something quite different; his pantheism - the belief in the spiritual nature of light. This prevented him from allowing himself to think of light in physical terms and accepting that it is anything other than simple, immutable, and unknowable.This important new translation will be useful to natural scientists, historians, philosophers and theologians alike and will delight anyone hoping to add a further layer of nuance to Goethe's complex portrait.

Johann Wolfgang von Goethe, although best known for his literary work, was also a keen and outspoken natural scientist. In the second polemic part of Zur Farbenlehre (Theory of Colours), for example, Goethe attacked Isaac Newton's ground-breaking revelation that light is heterogeneous and not immutable, as was previously thought.This polemic was unanimously rejected by the physicists of the day, and has often been omitted from compendia of Goethe's works. Indeed, although Goethe repeated all of Newton's key experiments, he was never able to achieve the same results. Many reasons have been proposed for this, ranging from the psychological - such as a blind hatred of Newtonism, self-deceit and paranoid psychosis - to accusations of incapability - Goethe simply did not understand the experiments. Yet Goethe was never to be dissuaded from this passionate conviction.This translation of Goethe's polemic, published for the first time in English, makes it clear that Goethe did understand the thrust of Newton's logic. It demonstrates that Goethe's resistance to Newton's theory stemmed from something quite different; his pantheism - the belief in the spiritual nature of light. This prevented him from allowing himself to think of light in physical terms and accepting that it is anything other than simple, immutable, and unknowable.This important new translation will be useful to natural scientists, historians, philosophers and theologians alike and will delight anyone hoping to add a further layer of nuance to Goethe's complex portrait.