Throughout history, and all over the world, viewers have treated works of art as if they are living beings: speaking to them, falling in love with them, kissing or beating them. Although over the past 20 years the catalogue of individual cases of such behavior towards art has increased immensely, there are few attempts at formulating a theoretical account of them, or writing the history of how such responses were considered, defined or understood. That is what this book sets out to do: to reconstruct some crucial chapters in the history of thought about such reflections in Western Europe, and to offer some building blocks towards a theoretical account of such responses, drawing on the work of Aby Warburg and Alfred Gell.
Near the end of his life, Giovanni Battista Piranesi (1720-78) created three colossal candelabra mainly from fragments of sculpture excavated near the Villa Hadriana in Tivoli, two of which are now in the Ashmolean Museum, and one in the Louvre. Although they were among the most sought-after and prestigious of his works, and fetched enormous prices during Piranesi's life, they suffered a steep decline in appreciation from the 1820s onwards, and even today they are among the least studied of his works. Piranesi's Candelabra and the Presence of the Past uncovers the intense investment, by artists, patrons, collectors, and the public around the start of the nineteenth century in objects that made Graeco-Roman Antiquity present again. Caroline van Eck's study examines how objects make their makers or viewers feel that they are again in the presence of Antiquity, that not only Antiquity has revived, but that classical statues become alive under their gaze. what it takes to make such objects, and what it costs to own them; and about the ramifications of such intense if not excessive attachments to artefacts. This book considers the three candelabra in depth, providing the biography of these objects, from the excavation of the Roman fragments to their entry into private and public collection. Van Eck considers the context that Piranesi gave them by including them in his Vasi, Candelabri e Cippi (1778), to rethink the processes that led to the development of neoclassicism from the perspective of the objects and objectscapes that came into being in Rome at the end of the eighteenth century.
Book of Architecture Containing the General Principles of the Art and the Plans, Elevations and Sections of some of the Edifices Built in France and in Foreign Countries
Book of Architecture Containing the General Principles of the Art and the Plans, Elevations and Sections of some of the Edifices Built in France and in Foreign Countries
This title was first published in 2003. Germain Boffrand was one of the great French architects of the early eighteenth century. His work encompassed not only the design of town and country houses for the wealthy but also mines, bridges and hospitals. His Livre d’Architecture is one of the most original books on architecture ever written in France. Taking the Art of Poetry by the Latin poet Horace as its starting point, it developed an aesthetic of architecture focused on character, style and the emotional impact of a building that influenced Blondel, Le Camus de Mezieres and Soane, and is still central to contemporary debate about the nature and meaning of architecture. Translated for the first time by David Britt, Boffrand’s text is here accompanied by an extensive introduction and notes by Caroline van Eck who situates Boffrand within the main issues of eighteenth-century architectural aesthetics. Beautifully illustrated, including all the pictures chosen by Boffrand for his original publication, this book is an invaluable tool for teaching the history of architectural theory and an essential work for any architectural library. Germain Boffrand is published with the assistance of the Getty Foundation.
One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting.
Near the end of his life, Giovanni Battista Piranesi (1720-78) created three colossal candelabra mainly from fragments of sculpture excavated near the Villa Hadriana in Tivoli, two of which are now in the Ashmolean Museum, and one in the Louvre. Although they were among the most sought-after and prestigious of his works, and fetched enormous prices during Piranesi's life, they suffered a steep decline in appreciation from the 1820s onwards, and even today they are among the least studied of his works. Piranesi's Candelabra and the Presence of the Past uncovers the intense investment, by artists, patrons, collectors, and the public around the start of the nineteenth century in objects that made Graeco-Roman Antiquity present again. Caroline van Eck's study examines how objects make their makers or viewers feel that they are again in the presence of Antiquity, that not only Antiquity has revived, but that classical statues become alive under their gaze. what it takes to make such objects, and what it costs to own them; and about the ramifications of such intense if not excessive attachments to artefacts. This book considers the three candelabra in depth, providing the biography of these objects, from the excavation of the Roman fragments to their entry into private and public collection. Van Eck considers the context that Piranesi gave them by including them in his Vasi, Candelabri e Cippi (1778), to rethink the processes that led to the development of neoclassicism from the perspective of the objects and objectscapes that came into being in Rome at the end of the eighteenth century.
One of the issues underlying current debates between practitioners of art history, visual culture and aesthetics is whether the visual is a unique, irreducible category, or whether it can be assimilated with the textual or verbal without any significant loss. Can paintings, buildings or installations be 'read' in the way texts are read or deciphered, or do works of visual art ask for their own kind of appreciation? This is not only a question of choosing the right method in dealing with visual works of art, but also an issue that touches on the roots of the disciplines involved: can a case be made for the visual as an irreducible category of art, and if so, how is it best studied and appreciated? In this anthology, this question is approached from the angles of three disciplines: aesthetics, visual culture and art history. Unlike many existing overviews of visual culture studies, it includes both painting and architecture, and investigates historical ways of defining and appreciating the visual in their own, contemporary terms. Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting.
Book of Architecture Containing the General Principles of the Art and the Plans, Elevations and Sections of some of the Edifices Built in France and in Foreign Countries
Book of Architecture Containing the General Principles of the Art and the Plans, Elevations and Sections of some of the Edifices Built in France and in Foreign Countries
This title was first published in 2003. Germain Boffrand was one of the great French architects of the early eighteenth century. His work encompassed not only the design of town and country houses for the wealthy but also mines, bridges and hospitals. His Livre d’Architecture is one of the most original books on architecture ever written in France. Taking the Art of Poetry by the Latin poet Horace as its starting point, it developed an aesthetic of architecture focused on character, style and the emotional impact of a building that influenced Blondel, Le Camus de Mezieres and Soane, and is still central to contemporary debate about the nature and meaning of architecture. Translated for the first time by David Britt, Boffrand’s text is here accompanied by an extensive introduction and notes by Caroline van Eck who situates Boffrand within the main issues of eighteenth-century architectural aesthetics. Beautifully illustrated, including all the pictures chosen by Boffrand for his original publication, this book is an invaluable tool for teaching the history of architectural theory and an essential work for any architectural library. Germain Boffrand is published with the assistance of the Getty Foundation.
Throughout history, and all over the world, viewers have treated works of art as if they are living beings: speaking to them, falling in love with them, kissing or beating them. Although over the past 20 years the catalogue of individual cases of such behavior towards art has increased immensely, there are few attempts at formulating a theoretical account of them, or writing the history of how such responses were considered, defined or understood. That is what this book sets out to do: to reconstruct some crucial chapters in the history of thought about such reflections in Western Europe, and to offer some building blocks towards a theoretical account of such responses, drawing on the work of Aby Warburg and Alfred Gell.
First published in 1998, this volume seeks to examine a range of policing techniques which are new, if not in their conception, then at least in their importance to the form of police enquiries in the late 20th century. Some of them are beginning to be discussed under categories of 'proactive' or 'covert' policing: others are termed 'technological' because they depend intimately on the development of the new information technologies. In much of Western Europe and North America the nature of police investigative methods is being transformed. At the centre of these developments are three main trends. First, there is the increasing use of covert intelligence-gathering techniques such as participating informers, police undercover operations and surveillance proactively targeted at ‘suspicious’ individuals or networks. Secondly, there is the development of increasingly sophisticated information gathering and processing technologies (DNA) and fingerprint data bases, general intelligence storage systems, computer analysis of open source data, the Internet). Lastly there is an extending exploitation of powers to compel private individuals and companies to provide the state with information about themselves and third parties (including the use of information originally supplied to the state for purposes other than criminal investigation). This book argues that in different ways these trends represent a new invasion of the private sphere by investigative methods and a new challenge for traditional mechanisms for rendering the state’s policing accountable such as the trial, the judge and the defence lawyer. Bringing together contributions from sociologists and lawyers in Western Europe and North America, it surveys these developments, considers the regulatory options for their control and their implications for legal principles of privacy and due process.
How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.
This book contributes to studies of entrepreneurship, where usually an archetypical entrepreneur is constructed - being white, male, and non-Muslim. Literature on female entrepreneurship and migrant entrepreneurship, which highlight the importance of ethnicity and gender, are typically ignored. The application of intersectionality theory, or illustrating what happens at the cross-roads of gender and ethnicity within entrepreneurial settings, is therefore new within entrepreneurship literature. The book reveals how sustaining their entrepreneurial identities, while overcoming the tensions emerging at the junction of these two categories of social exclusion, makes these women post-heroic entrepreneurs.
“The secret of life may be found in the questions you ask, and the same goes for the secrets of playwriting. In Do It Yourself Dramaturgy, Caroline Russell-King asks just the right questions or, rather, she exhorts playwrights to ask them before launching their work into the world. Comprehensive and concise, this eminently usable guide offers lesson after lesson in dramaturgical inquiry—craft-based, artistic, practical, professional, and even profound. It comes packing answers, too, from a writer who clearly knows her stuff, including how to entertain as she teaches. Russell-King’s cheeky, smart examples are worth the price of admission. Her parentheticals—where she stows personal stories and biases—are priceless. “ —Todd London, Artistic Director, Writer, Dramatist Guild of America, NYC. “What a terrific resource for playwrights: sound advice and provocative questions peppered with relevant (and entertaining) anecdotes.” —Conni Massing, Playwright, screenwriter, story consultant, Edmonton. “Full of really valuable advice and questions to ask yourself. Read it then WRITE.” —George F. Walker, Playwright, Toronto. “Caroline Russell-King's Do It Yourself Dramaturgy guides you like a lighthouse beacon through the frequent fog of the creative process of writing, or more likely, rewriting a stage play. Phrased as a series of practical questions the playwright might ask of their work before revising and submitting it to a potential producer, this concise, practical and lively guide renders complex concepts accessible and useful to a playwright at any level of experience, or for that matter anyone engaged in the creation of that fundamental conveyor of human experience: story.“ —Gerry Potter, Writer, Director, Dramaturg, Edmonton. “Russell-King knows what she’s talking about. And she knows how to tell it with frankness, humour and clarity.” —Bill Lane, Producer, Director, Stratford.
Plant Biochemistry focuses on the molecular and cellular aspects of each major metabolic pathway and sets these within the context of the whole plant. Using examples from biomedical, environmental, industrial and agricultural applications, it shows how a fundamental understanding of plant biochemistry can be used to address real-world issues. It illustrates how plants impact human activity and success, in terms of their importance as a food supply and as raw materials for industrial and pharmaceutical products, and considers how humans can benefit from exploiting plant biochemical pathways. All chapters in this second edition have been substantially revised to incorporate the latest research developments, and case studies include updates on progress in developing novel plants and plant products. The artwork, now in full color, superbly illustrates the key concepts and mechanisms presented throughout. Key features: Presents each topic from the cellular level to the ecological and environmental levels, placing it in the context of the whole plant. Biochemical pathways are represented as route maps, showing how one reaction interacts with another both within and across pathways. Includes comprehensive reading lists with descriptive notes to enable students to conduct their own research into topics they wish to explore further The wide-ranging approach of this book emphasizes the importance of teaching and learning plant biochemical pathways within the framework of what the pathway does and why it is needed. Illustrates the fundamental significance of plants, in terms of their importance as a food supply, as raw materials and as sources of novel products. Plant Biochemistry is invaluable to undergraduate students who wish to gain insight into the relevance of plant metabolism in relation to current research questions and world challenges. It should also prove to be a suitable reference text for graduates and researchers who are new to the topic or who wish to broaden their understanding of the range of biochemical pathways in plants.
Written by experts from various fields, this edited collection explores a wide range of issues pertaining to how computers evoke human social expectations. The book illustrates how socially acceptable conventions can strongly impact the effectiveness of human-computer interactions and how to consider such norms in the design of human-computer interfaces. Providing a complete introduction to the design of social responses to computers, the text emphasizes the value of social norms in the development of usable and enjoyable technology. It also describes the role of socially correct behavior in technology adoption and how to design human-computer interfaces for a competitive global market.
Global biennials have proliferated in the contemporary art world, but artists’ engagement with large-scale international exhibitions has a much longer history that has influenced the present in important ways. Going back to the earliest world’s fairs in the nineteenth century, this book argues that “globalism” was incubated in a century of international art contests and today constitutes an important tactic for artists. As world’s fairs brought millions of attendees into contact with foreign cultures, products, and processes, artworks became juxtaposed in a “theater of nations,” which challenged artists and critics to think outside their local academies. From Gustave Courbet’s rebel pavilion near the official art exhibit at the 1855 French World’s Fair to curator Beryl Madra’s choice of London-based Cypriot Hussein Chalayan for the off-site Turkish pavilion at the 2006 Venice Biennale, artists have used these exhibitions to reflect on contemporary art, speak to their own governments back home, and challenge the wider geopolitical realm—changing art and art history along the way. Ultimately, Caroline A. Jones argues, the modern appetite for experience and event structures, which were cultivated around the art at these earlier expositions, have now come to constitute contemporary art itself, producing encounters that transform the public and force us to reflect critically on the global condition.
This new companion to Hochberg et al.'s Rheumatology masterwork provides new insights into the causes, detection and therapy of this challenging disease. In this state-of-the-art resource, you'll find 'one stop' coverage of all the latest scientific and clinical developments in SLE: new concepts in epidemiology, disease activity measures and outcomes; new concepts in immunoregulation, genetic and pathogenic mechanisms; new understanding and novel presentation of the processes of tissue/organ damage; comprehensive coverage of clinical features; and the very latest concepts in treatment. Provides the very latest understanding of the pathogenesis of SLE. Distills current understanding of the cellular, molecular, genetic and environmental factors that instigate and drive the disease. Includes comprehensive coverage of clinical features, including fatigue, organ system manifestations, overlap syndromes, infections, and more. Conveys the very latest understanding of mechanisms of tissue damage, including immune complexes, antibodies, and other mechanisms that lead to organ damage. Contains expert discussion of processes that are responsible for tissue injury - a hallmark of this text. Incorporates the latest treatment modalities, including steroids and non-steroidals, cytotoxic drug treatment, PAP's, and therapies on the horizon. Discusses the latest treatment options on disease modifying or disease controlling agents.
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