Eric White's hyper-intensive, distortedly lucid paintings explore the shifting boundaries between beauty and horror. Developing out of the artist's fascination with the illusory properties and constructions of film, the paintings examine the varying layers of human perception by manipulating planes of focus and the reliability of form and colour. With work from four different galleries, this is a comprehensive collection of Eric White's career as a painter.
The book Then What? will take us on a series of questions and ways on how we think as individuals with our hearts. While taking that journey down integrity lane, the honesty that we portray will also give us a chance to take a good look at ourselves. It doesnt try and point out whether we are bad people or not. It only points to some of the ways that we may have some questions and answers resolved.
*Adheres closely to original style/approach that made this book a best-seller in its previous incarnation *Functions as a practical guide for a business audience *Case-study contains the fully working source code to a real commercial product
In the second edition of the definitive account of Igor Stravinsky's life and work, arranged in two separate sections, Eric Walter White revised the whole book, completing the biographical section by taking it up to Stravinsky's death in 1971. To the list of works, the author added some early pieces that have recently come to light, as well as the late compositions, including the Requiem Canticles and The Owl and the Pussycat. Four more of Stravinsky's own writings appear in the Appendices, and there are several important additions to the bibliography.
Provides an alternative account of the modernist transatlanticTransatlantic Avant-Gardes offers a revisionary account of the evolution of twentieth-century modernism. Complimenting recent studies of modernist expatriates, Eric White explores new points of contact between European and American avant-gardes to place 'located' figures such as William Carlos Williams, Marianne Moore, Wallace Stevens, Jean Toomer, and Alfred Kreymborg back into the 'global design' of literary modernism. Focusing on artist-run 'little magazines' (including Others, Contact, The Little Review, Blast, The Dial, Fire!!, and Pagany) and selected fine press publications and mainstream periodicals, White also reconsiders the boundaries that traditionally divide modernist literature into 'exile' and 'localist', or 'regionalist' and 'cosmopolitan', factions. Thus, the book proposes a version of localist modernism that prioritises issues of geographic and textual 'location' to deliver a 'networked' approach to American modernism in the transatlantic context. Combining literary-historical, textual, and cultural criticism, Transatlantic Avant-Gardes provides a new reading of the specialised literary networks that interrogated the relationship between geographic place, textual space and national identity in the modernist transatlantic.
A revisionist account of technology's role in the aesthetics, spaces and politics of transatlantic avant-gardesExplores of a range of key avant-garde formations in the modernist transatlantic period, from the Italian futurists and English Vorticists to the Dada-surrealist and post-Harlem Renaissance African American experimentalistsExplores writers' and artists' inventions as well as their texts, and involves them directly in the messy transductions of technology in cultureDraws on previously unknown photos, manuscripts and other evidence that reveals the untold story of Bob and Rose Brown's 'reading machine' - a cross-disciplinary, meta-formational, and transnational project that proposed to transform the everyday act of readingReading Machines in the Modernist Transatlantic provides a new account of aesthetic and technological innovation, from the Machine Age to the Information Age. Drawing on a wealth of archival discoveries, it argues that modernist avant-gardes used technology not only as a means of analysing culture, but as a way of feeding back into it. As well as uncovering a new invention by Mina Loy, the untold story of Bob Brown's 'reading machine' and the radical technicities of African American experimentalists including Gwendolyn Bennett and Ralph Ellison, the book places avant-gardes at the centre of innovation across a variety of fields. From dazzle camouflage to microfilm, and from rail networks to broadcast systems, White explores how vanguardists harnessed socio-technics to provoke social change.
Reading Machines in the Modernist Transatlantic provides a new account of aesthetic and technological innovation, from the Machine Age to the Information Age.
After his career in research, the author and his wife sailed from Edinburgh to the Mediterranean. While over-wintering at Rhodes they decided to go to the Ukraine in 1991, visiting Varna in Bulgaria, Odessa and Yalta. This was the first British boat to visit Yalta since 1919 where they found themselves in the midst of the Gorbachev coup. Cruising was fascinating with an unexpectedly sociable life. Visiting the old Communist bloc was eye-opening. Watching the people grappling with the evident collapse of their leaders and political system was mind-blowing for all concerned. Eric White has written many scientific papers. This is his first product in a different genre. It has been no less demanding and hugely enjoyable. He continues to sail, including circumnavigating, in his imagination. His daughter Susan in Australia continues sailing in the next generation.
Eric White's hyper-intensive, distortedly lucid paintings explore the shifting boundaries between beauty and horror. Developing out of the artist's fascination with the illusory properties and constructions of film, the paintings examine the varying layers of human perception by manipulating planes of focus and the reliability of form and colour. With work from four different galleries, this is a comprehensive collection of Eric White's career as a painter.
This new edition has been thoroughly revised and edited by John Evans (research scholar to the Britten Estate) who has updated the chronological list of published works and included in the bibliography the many books that have been written about the composer since his death in 1976. Although, as the title suggests, this book concentrates on Britten's operatic output, Mr White's account offers insights into the whole range of this prodigious composer's music. The text is lavishly illustrated with plates that reveal both the diversity of his operatic development and comprise a distinctive pictorial bibliography.
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