It collects Nougé’s notes and photographs from 1929–1930 to form a guidebook to the surrealist image. Nougé here outlines his conception of the object and outlines the Surrealist approach to it, while also offering an accompaniment to the visual work of his colleague, René Magritte, whose paintings he sometimes titled. How might a tangle of string elicit terror? How might the suppression of an object move one to sentimentality? What is the effect of a pair of gloves on a loaf of sliced bread?Nougé’s accompanying photographs explore these notions, and feature a number of his Belgian Surrealist colleagues. This translation is presented as a facsimile of the original edition, with an afterword by Xavier Canonne, director of the Musée de la Photographie.Paul Nougé (1895–1967), a biochemist by trade, was a leading light of Belgian Surrealism and its primary theorist, as well as a decisive influence on such future Lettrists and Situationists as Guy Debord and Gil J Wolman, who would take inspiration from his conception of plagiarism for what would come to be termed “détournement.” Decidedly unambitious when it came to literary celebrity, Nougé’s guidance nevertheless steered the Brussels Surrealist group toward a more rational approach to visual and verbal language that discarded the Parisian Surrealists’ proclivity for irrationality and occultism.

    Germany's overall failure in the first year of World War I was surprising and remains a frequent subject of analysis, mostly focused on deficiencies in strategy and policy. But there were institutional weaknesses as well. This book examines the structural failures that frustrated the Germans in the war's crucial initial campaign, the invasion of Belgium. Too much routine in planning, command and execution led to groupthink, inflexibility and to an overconfident belief that nothing could go too terribly wrong. As a result, decisive operation became dicey, with consequences that Germany's military could not overcome in four long years.

    "Ballet is a mirror that I stand in front of to discover what drives, inspires, excites, scares and surprises me. Creating this book has been a way to turn the mirror outward and to share the many words, images, experiences and reflections with you." - Wim Vanlessen. This book is an ode to dance. It's a tribute to the very precise, timeless form of physical expression, known as ballet, told from the perspective of a man who has spent more than thirty years of his life devoted to the art that many try, yet few master. This book answers the question: Who does a dancer need to be? Part memoir, part visual history and pure joy, this book offers insight into the life and career of Wim Vanlessen, principal dancer for the Royal Ballet of Flanders. On the cusp of his farewell to the company after more than two decades in the spotlight, Wim recounts key moments from his personal life that have shaped him as a dancer and a man. He's a person that has placed his passion above all else, with an unflinching and unforgiving drive to become the best ballet dancer he can be. Featuring special contributions from stars in the worlds of fashion, dance and photography: Raf Simons, Kathryn Bennetts, Stephan Vanfleteren, Willy Vanderperre, Wendy Whelan, Stephen Galloway, and many others. This book is published on the occasion of Wim Vanlessen's last show at the Royal Balles of Flanders: B�jart's Bol�ro.