Abstract Expressionism was the defining movement in American art during the years following World War II, making New York City the centre of the international art scene. But what the heck did it mean! The drips, the spills, the splashes, the blotches of colour, the wild spontaneous energy signifying what?

ABSTRACT EXPRESSIONISM FOR BEGINNERS will not only help you understand, but, also, appreciate the art of some of the most iconic figures in modern art Jackson Pollock, Willem de Kooning, Mark Rothko, Helen Frankenthaler and others. Explore their lives and artistic roots, the heady world of Greenwich Village in the 1940s and 1950s, the influence of jazz, the voices of critics and the enduring legacy of a uniquely inspired group of artists.

Ein Schwerpunkt liegt auf literarischen Analysen der TragAdien Senecas als einzigen dramatischen Autor der Kaiserzeit, dessen Werke A1/4berliefert sind. Weitere BeitrAge zeigen indessen, dass andere Gattungen, insbesondere der Pantomimus, die soziale Wirklichkeit des Theaters, Spielplan und AuffA1/4hrungspraxis prAgten. Gleichwohl bildeten die Texte dramatischer Autoren einen wichtigen theoretischen Bezugsrahmen fA1/4r Literatur, Philosophie, Religion. Entsprechend stehen in zahlreichen BeitrAgen rezeptionsgeschichtliche Fragestellungen im Mittelpunkt, die einen Zeitraum von der archaischen Dichtung Roms bis in die frA1/4he Neuzeit umfassen.

Hugo McCloud's artistic practice developed through his tireless experimentation with materials. The artist finds beauty in the everyday - thus disposable bags, aluminum plates, or bronze panels treated with acid turn into artistic tools. What is unique is not only his inventiveness, but also the broad range of themes he outlines with his art. Hugo McCloud finds expression for social and political problems through his media. He dissects and explores materials and makes them appear in a completely new light. McCloud, who came to art as a self-taught artist, has created a remarkable oeuvre to date, which is now illustrated in this survey publication.

Founded 2600 years ago on a massive limestone eminence, the city of Arles has been the home of Roman emperors and captured slaves, pagan temples and Christian spires, bloody revolutionaries and powerful papists. In The Rock of Arles Richard Klein relays the history of the city as told to him by the Rock, its genius loci, which infallibly remembers every moment of its existence, from the Roman conquest of Gaul to the fall of feudal aristocracy, from the domination of the Catholic Church to the present representative democracy. The Rock’s contrarian and dissident history resurrects the memory of three of the city’s most radical yet largely forgotten revolutionary minds: Hellenistic philosopher Favorinus, medieval Hebrew poet Kalonymus ben Kalonymus, and the revolutionary aristocrat Pierre-Antoine Antonelle. For the Rock, each figure represents a freethinking current running through Arlesian history, which contested the reactionary, bigoted forces that governed the city for fifteen centuries. Erudite, witty, and opinionated, the Rock tells the story of Arles in order to sketch the broader canvas of European history while invoking the city’s possible future.

Founded 2600 years ago on a massive limestone eminence, the city of Arles has been the home of Roman emperors and captured slaves, pagan temples and Christian spires, bloody revolutionaries and powerful papists. In The Rock of Arles Richard Klein relays the history of the city as told to him by the Rock, its genius loci, which infallibly remembers every moment of its existence, from the Roman conquest of Gaul to the fall of feudal aristocracy, from the domination of the Catholic Church to the present representative democracy. The Rock’s contrarian and dissident history resurrects the memory of three of the city’s most radical yet largely forgotten revolutionary minds: Hellenistic philosopher Favorinus, medieval Hebrew poet Kalonymus ben Kalonymus, and the revolutionary aristocrat Pierre-Antoine Antonelle. For the Rock, each figure represents a freethinking current running through Arlesian history, which contested the reactionary, bigoted forces that governed the city for fifteen centuries. Erudite, witty, and opinionated, the Rock tells the story of Arles in order to sketch the broader canvas of European history while invoking the city’s possible future.

This volume is a collection of essays based on lectures given at the Orpheus Institute in Ghent at various occasions over the last four years.Two of our five distinguished authors are British, three are Germans. Two are prominent composers and both keen and provocative writers about music; one is a musicologist and daring critic who specializes in contemporary music. There are also two philosophers and Adorno specialists that deal with such fundamental and highly complex matters as music and language, and music and time.All authors subscribe to the same seriousness of purpose, so that you may find reminiscences of one text in the others, which will make for a fascinating read. Moreover, this book is all about the current state of music, about thinking, speaking, and writing about music in the immediate aftermath of that stirring and fascinating twentieth century.

Campy, bitchy, outrageous, and quite a bit more than over the top, Abby Zinzo describes himself as “a cross between Auntie Mame and Louis the Sun King.” Abby has lived a life dedicated to pleasure, and nothing has given him more pleasure than owning, wearing, or merely contemplating the lustrous objects with which women and men have always adorned themselves.

In this sexy, funny book that is part novel and part thesis on jewelry, Abby sits down to record everything he has learned over a lifetime, planning to leave this story along with his collection of valuable stones to his beloved niece, Zeem. He recounts the history of famous gems–like the fabulous Koh-i-Noor and the brilliant blue Hope diamond–and regales us with naughty tales of the women who made the beautiful jewelry their own, including Coco Chanel, the Duchess of Windsor, and Elizabeth Taylor. He also narrates his own sensational life, from Harvard undergraduate to dancer in a notorious Paris drag cabaret to his twilight as a man for whom gender is just another glittering ornament. Sharp, fascinating, and sparkling with its own inner fire, Jewelry Talks is precious gem in and of itself.

Cigarettes are bad for you; that is why they are so good. With its origins in the author's urgent desire to stop smoking, Cigarettes Are Sublime offers a provocative look at the literary, philosophical, and cultural history of smoking. Richard Klein focuses on the dark beauty, negative pleasures, and exacting benefits attached to tobacco use and to cigarettes in particular. His appreciation of paradox and playful use of hyperbole lead the way on this aptly ambivalent romp through the cigarette in war, movies (the "Humphrey Bogart cigarette"), literature, poetry, and the reflections of Sartre to show that cigarettes are a mixed blessing, precisely sublime.

A broad-based approach to preservation After completing an extensive survey of preservation programs throughout the United States, authors Virginia O. Benson and Richard Klein saw the need for this comprehensive approach to historic preservation, examining where it has been and where it is going, anticipating that historic preservation must encourage collaborative projects among planning, design, and development professionals. This text focuses on complex economic, political, and social realities facing the profession today. Specifically, Historic Preservation for Professionals provides an in-depth historic analysis of the profession, a summary of legal issues, an architectural synopsis, a discussion of career opportunities in the public and private sectors, and examples of innovative nonprofit leadership and preservation trends. Design professionals—architecture, interior, and landscape—and those interested in urban design and urban studies, real estate development, and nonprofit management will find Historic Preservation for Professionals a valuable addition to the fields of architecture, urban design, and preservation.

Diplomarbeit aus dem Jahr 2000 im Fachbereich Ingenieurwissenschaften - Nachrichtentechnik / Kommunikationstechnik, Note: 1,3, Bergische Universitat Wuppertal (unbekannt), Sprache: Deutsch, Abstract: Inhaltsangabe: Einleitung: Durch die standig wachsende Flut von Informationen im Internet und anderen Kommunikationsmedien wird der Ruf nach immer schnelleren Ubertragungsmedien lauter. Wahrend im Festnetz die drahtgebundenen Datenubertragungsraten immer weiter zunehmen, ist auf dem Gebiet der mobilen Funk-Ubertragung noch lange nicht eine vergleichbare Geschwindigkeit moglich. Die heutigen digitalen Mobilfunkstandards (zweite Generation der mobilen Telekommunikation) basieren auf Schmalbandtechniken, die entwickelt wurden, um die elementaren Anforderungen an Sprach- und Datendiensten abdecken zu konnen. Diese etablierten Funkstandards basieren auf dem CDMA- (Code Division Multiple Access) oder FDMA-Verfahren (Frequency Division Multiple Access) Um die Anforderungen der erwartenden Dienste fur die nachste Generation zu erfullen, ging von der International Telecommunication Union (ITU) ein offizieller Aufruf zur Einreichung von Vorschlagen fur die Ubertragungstechnik zukunftiger Mobilfunksysteme im Rahmen des International Mobile Telecommunications (IMT-) 2000-Programms aus. Der europaische Vorschlag fur IMT-2000, der von European Telecommunications Standards Institute (ETSI) vorbereitet wird, ist das Universal Mobile Telecommunications System (UMTS). Innerhalb dieses Vorschlages wurden die grundlegenden Anforderungen fur UMTS und UTRA (UMTS Terrestrial Radio Access) festgelegt. Fur die Erarbeitung dieser Vorschlage/Spezifikationen haben sich mehrere Firmen und Interessengruppen zusammen geschlossen, dem 3GPP (3rd Generation Partnership Project). Wesentliche Anforderungen sind eine minimale Datenrate von 144kBit/s fur landliche Regionen bei einer maximalen Geschwindigkeit von ca. 500 km/h. Im Vorstadt-Bereich sollten bei einer Geschwindigkeit von bis zu 120 km/h immer no