In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them. The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.

    In this classic book, Madeleine L'Engle addresses the questions, What makes art Christian? What does it mean to be a Christian artist? What is the relationship between faith and art? Through L'Engle's beautiful and insightful essay, readers will find themselves called to what the author views as the prime tasks of an artist: to listen, to remain aware, and to respond to creation through one's own art.

    We live in a fast-paced, high-octane society where feeling lost in the jostling crowd is the norm and finding our own significance is oftentimes the biggest challenge of all. Fearless love champion Judy Clement Wall will guide you through this challenge--to fill your well for 30 days and tap into the miracle that is you! When you learn to love and value yourself, your relationships with everyone else will change, because the person that you bring to the world will be the fullest, truest, best-loved version of yourself. So step up and take this challenge. Carve out a few minutes each day to fully engage with yourself; reflect, unwind, and have fun! Here's a sneak peek at just some of the prompts:#2: Be outrageously grateful#3: Create a life list#4: Appreciate your body in all its awesomeness#6: Doodle your perfect t-shirt#11: Find your life theme#12: Call "BS" on "should"#14: Text love.Using a stimulating mix of coloring, creative prompts, and other daily activities, master writer, artist and doodler Judy Clement Wall will help you uncover the undeniable awesomeness that is you.

    The incomparable Borges delivered these seven lectures in Buenos Aires in 1977; attendees were treated to Borges erudition on the following topics: Dante's The Divine Comedy, Nightmares, Thousand and One Dreams, Buddhism, Poetry, The Kabbalah, and Blindness.

    Examining visual art from 1980 to the present, it takes an intriguing and accessible approach that motivates students and other readers to think actively about and discuss contemporary art--what it means and how it means what it does. The opening chapter provides a concise overview of the period, analyzing how four key changes (the rise of new media, a growing awareness of diversity, the influence of theory, and interactions with everyday visual culture) have resulted in an art world with dramatically expanded boundaries. Reflecting the paradigm shift from a formalist way of teaching studio art to more varied and open-ended concepts, the remaining six chapters each deal with a key theme--time, place, the body, language, identity, and spirituality. Each chapter features an introduction to the thematic topic; a brief look at historical precedents and influences; a detailed analysis of how contemporary artists have responded to and embodied aspects of the theme in specific works; and an in-depth and fascinating profile of an artist who has extensively explored aspects of the theme in his or her work. Themes of Contemporary Art: Visual Art after 1980 shows how art can be interpreted from several different angles: techniques and materials, historical circumstances, aesthetic qualities, theoretical issues, and an artist's ideas and intentions. Writing in a lucid and engaging style, the authors skillfully reveal the multiple levels of meaning in artworks, drawing connections between contemporary art, art of the past, and everyday existence. The volume is enhanced by 87 illustrations--19 in full color--that demonstrate an immense variety of materials, subjects, and styles. These well-chosen examples will help readers learn to critically describe, interpret, and evaluate contemporary visual art. A bibliography and a timeline that situates contemporary art in the context of major events in world history, art, and popular culture are also included. An ideal core text for courses in contemporary art history, Themes of Contemporary Art: Visual Art after 1980 can also be used as a supplement in modern art, art appreciation, art criticism/theory, and studio art courses.

    That’s the message from Austin Kleon, a young writer and artist who knows that creativity is everywhere, creativity is for everyone. A manifesto for the digital age, Steal Like an Artist is a guide whose positive message, graphic look and illustrations, exercises, and examples will put readers directly in touch with their artistic side.

    The masterly essay on Tolstoy's view of history, in which Sir Isaiah underlines a fundamental distinction between those people (foxes) who are fascinated by the infinite variety of things and those (hedgehogs) who relate everything to a central, all-embracing system.

    This is not that book! Hardcore Zen was a groundbreaking look at Zen Buddhism through the eyes of a Western punk rocker living in Japan who became an ordained monk while working for a company that made cheap monster movies. In this new sequel, Hardcore Zen Strikes Again, Brad returns to his roots and provides a glimpse into some of his early writings that formed the basis for that book. These essays, mostly from a long-defunct website Brad produced in the early 2000s, form a snapshot of the genesis of Brad’s first book. Brad has provided new introductions and afterwords to each essay as well as a complete chapter written for Hardcore Zen that did not make the final cut, plus an article about his experiences at the company he was working for when the book was written. Together they make an invaluable collection for anyone interested in Brad’s writing as well as those interested in his unique way of presenting the timeless truths of Zen in a contemporary idiom.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    It is a brilliant work of critical insight that also tells us much about its author's own thinking and preoccupations. In its own right it is a masterpiece of literary and philosophical creative writing. This edition was published in 1999 - ten years after the writer's death. The volume also contains the equally celebrated dialogues with the art critic Georges Duthuit - written to record their different points of view after the discussions took place. Beckett always let Duthuit win, but his very unusual and often opposite point of view on the nature and purpose of art is all the more forceful and memorable on that account.

    Seraphim Rose, an Orthodox Christian monk from the mountains of northern California, during a lecture he gave at the University of California, Santa Cruz, in 1981. The contents of this lecture comprise God's Revelation to the Human Heart. Drawing from a variety of sources -- the Holy Scriptures, patristic writings, the lives of both ancient and modern saints, and accounts of persecuted Christians behind the Iron Curtain -- Fr. Seraphim goes to the core of all Christian life: the conversion of the heart of man, which causes it to bum with love for Christ and transforms one into a new being.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.

    Although smart and successful in a controlled and stable workplace, she has been taught since childhood to substitute her own judgement for that of others, leaving her naïve, gullible and ill-prepared to effectively manage the complexities of her new life.When Susan meets Mark, a charismatic and charming doctor, she thinks she has found the kind of love and passion she has longed for. But things are not as they appear with Mark, and slowly she becomes aware of the deceptive life he is leading. Seeking counsel and solace in a trusted therapist, she encourages Mark to accompany her to a session.The three year odyssey begins with intense therapy - appointments orchestrated by a psychiatrist who develops a personal stake in the couple’s progress. Secrets, lies, and silent pacts draw Susan, inexperienced and trusting, deeply into Mark’s treatment plan. The shrewd therapist’s unorthodox and manipulative schemes break all the rules, taking Susan into a world of drama, deceit, betrayal, and an excruciatingly close encounter with the law – an encounter that forces her to choose between saving Mark or saving herself.