In this comprehensive and readable book--already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike--Janet Murray shows how the computer is reshaping the stories we live by. Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.

    Focusing on the youth-driven phenomenon of otaku (roughly translated as “geek culture” or “pop cult fanaticism”), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages. The book’s title, Little Boy, is a reference to the atomic bomb dropped on Hiroshima in 1945, thus clearly locating the birth of these new cultural forms in the trauma and generational aftershock of the atomic bomb.This generously illustrated book showcases the work of key otaku artists and designers, many of whom are cult celebrities in Japan, and discusses their feature film and video animations, video games and internet sites, music, toys, fashion, and more. In the process, the following questions are posed: What is otaku, and what does it tell us about contemporary social, economic, and cultural life in Japan and throughout the world? How is it related to the pervasive and curious fixation on “cuteness” evident in Japanese popular culture? What impact did the atomic devastation of World War II have on the development of Japanese art and culture?This brilliantly designed, bilingual (English and Japanese) publication examines these themes to explore how contemporary Japanese art has become inseparable from the subcultural realms of manga and animé (Japanese animation)—a world where meticulous technique, apocalyptic imagery, and high and low cultures meet.Little Boy concludes Murakami’s “Superflat” trilogy, a project conceived in 2000 to introduce a new wave of Japanese artists and to place their work in the historical context of traditional styles and concepts.

    In a philosophical approach to color, William Gass explores man's perception of the color blue as well as its common erotic, symbolic, and emotional associations.

    As a school that strove to combine applied art with both the fine arts and technology, the Bauhaus movement has outlasted all other trends in architecture and design. This volume provides insight into the historical, cultural, philosophical, political and pedagogical background of the 1930s, when the Bauhaus was founded. It also portrays the famous Bauhaus directors and teachers and describes their signature pedagogical methods. Finally, the authors take readers inside Individual workshops, where they can discover for themselves the unique wealth of forms and ideas that remain the hallmark of Bauhaus products. Through its contributions to current discourse on the Bauhaus as a "fixed star of the avant-garde," its wealth of pictorial material (some of which has never before been published), as well as the rich variety of topics it addresses, this book offers a comprehensive look at one of the most significant institutions in the history of modern art and culture.

    In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric. Bogost calls this new form "procedural rhetoric," a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change these positions themselves, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and learning.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    Find your favourite pop-culture character in this collection of silhouettes from well-known movie, television, comics and video game characters!

    This volume contains twenty-seven pieces, including the influential introduction to the catalog for Three American Painters, the text of his book Morris Louis, and the renowned "Art and Objecthood." Originally published between 1962 and 1977, they continue to generate debate today. These are uncompromising, exciting, and impassioned writings, aware of their transformative power during a time of intense controversy about the nature of modernism and the aims and essence of advanced painting and sculpture. Ranging from brief reviews to extended essays, and including major critiques of Jackson Pollock, Morris Louis, Kenneth Noland, Jules Olitski, Frank Stella, and Anthony Caro, these writings establish a set of basic terms for understanding key issues in high modernism: the viability of Clement Greenberg’s account of the infralogic of modernism, the status of figuration after Pollock, the centrality of the problem of shape, the nature of pictorial and sculptural abstraction, and the relationship between work and beholder. In a number of essays Fried contrasts the modernist enterprise with minimalist or literalist art, and, taking a position that remains provocative to this day, he argues that minimalism is essentially a genre of theater, hence artistically self-defeating.For this volume Fried has also provided an extensive introductory essay in which he discusses how he became an art critic, clarifies his intentions in his art criticism, and draws crucial distinctions between his art criticism and the art history he went on to write. The result is a book that is simply indispensable for anyone concerned with modernist painting and sculpture and the task of art criticism in our time.

    From painting and sculpture to installation, video art, and performance, it examines the roles played by the body in art, from being the subject of portraiture to becoming an active presence in participatory events.Organized thematically, the book focuses on subjects such as nature and technology, the grotesque, identity politics, and the place of the individual in society. Featuring work by artists such as Matthew Barney, Marlene Dumas, Olafur Eliasson, Oleg Kulik, and Ernesto Neto, it shows how the body continues to be pivotal to the understanding and expression of our place in the universe.

    The book also includes descriptions of laquerware under candlelight, and women in the darkness of the house of pleasure.

    In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's "to kalon," the Japanese idea of "wabi-sabi," Hebrew's "yapha," the Navajo concept "hozho," Sanskrit "sundara," and our own English-language "beauty." Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. The earthy and the exalted, the imperfect and the ideal: things, spaces, high art, sounds, aromas, nothingness. Sartwell writes about handfuls of beautiful things - among them, a Japanese teapot and Diana Rigg as Mrs. Emma Peel, the pleasure in a well-used hammer and in pop music and in Vermeer's "Girl in a Red Hat."In Sartwell's hands these six names of beauty -and there could be thousands more-are revealed as simple and profound ideas about our world and our selves.

    In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms.Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a surfeit of aliveness. In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.

    In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified?

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today. Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative. Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.