All who read The Act of Creation will find it a compelling and illuminating book.

    This best-selling text has guided tens of thousands of art students through the writing process. Students are shown how to analyze pictures (drawings, paintings, photographs), sculptures and architecture, and are prepared with the tools they need to present their ideas through effective writing.

    How Buildings Learn is a masterful new synthesis that proposes that buildings adapt best when constantly refined and reshaped by their occupants, and that architects can mature from being artists of space to becoming artists of time. From the connected farmhouses of New England to I.M. Pei's Media Lab, from "satisficing" to "form follows funding," from the evolution of bungalows to the invention of Santa Fe Style, from Low Road military surplus buildings to a High Road English classic like Chatsworth—this is a far-ranging survey of unexplored essential territory.More than any other human artifacts, buildings improve with time—if they're allowed to. How Buildings Learn shows how to work with time rather than against it.

    Piercing the fog of mysticism and sentimentality that engulfs art, the essays in The Romantic Manifesto explain why, since time immemorial, man has created and consumed works of art.Ayn Rand argues that objective standards in art are possible because art is not a subjective luxury, but rather a critical need of human life—not a material need, but a need of man’s rational mind, the faculty on which his material survival depends.Ayn Rand explains the indispensable function of art in man’s life (ch. 1), the objective source of man’s deeply personal, emotional response to art (ch. 2), and how an artist’s fundamental, often unstated view of man and of the world shapes his creations (ch. 3).Turning to her own field of artistic creation, Rand elaborates (ch. 5) on her distinctive theory of literature and identifies principles by which to judge an artwork objectively. “What is Romanticism?” (ch. 6) sheds new light on the nature and philosophy of the school of literature under which Rand classified her own work. Later essays explain how contemporary art reveals the debased intellectual state of our culture (ch. 7, 8 and 9).In the final essay Rand articulates the goal of her own fiction writing as “the projection of an ideal man, as an end in itself”—and explains that she originated her philosophy as a means to this end.Table of ContentsIntroductionThe Psycho-Epistemology of ArtPhilosophy and Sense of LifeArt and Sense of LifeArt and CognitionBasic Principles of LiteratureWhat Is Romanticism?The Esthetic Vacuum of Our AgeBootleg RomanticismArt and Moral TreasonIntroduction to Ninety-ThreeThe Goal of My WritingThe Simplest Thing in the WorldIndex

    Adopting an innovative year-by-year approach, Foster, Krauss, Bois and Buchloh present more than one hundred short essays, each focusing on a crucial event - such as the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition - to tell the story of the dazzling diversity of practice and interpretation that characterized the art of the period. are explored in depth, as are the frequent and sustained antimodernist reactions that proposed alternative visions of art and the world. Illustrating the authors' fine texts are more than six hundred of the most important works of the century, most reproduced in full colour. The book's flexible structure and extensive cross-referencing allow readers to plot their own course through the book and to follow any one of the many narratives that unfold through the century, whether that be the history of a medium such as photography or painting, the development of art in a particular country, the influence of a movement such as Surrealism or feminism, or the emergence of a stylistic or conceptual category like abstraction or minimalism. and issues surrounding the art. In their perceptive introductions, the four authors set out and explain the different methods of art history at work in the book, providing the reader with the conceptual tools to further his or her own study. Two roundtable discussions - one at mid-century, the other at the close of the book - consider some of the questions raised by the preceding decades and look ahead to the art of the future. A glossary of terms and concepts completes this extraordinary volume.

    After the horrors of the Nazi regime in WWII, the mainstream scientific world turned its back on eugenics and the study of racial difference. But a worldwide network of eugenicists founded journals and funded research, providing the kind of shoddy studies that were ultimately cited in Richard Hernstein's and Charles Murray's 1994 title, The Bell Curve, which purported to show differences in intelligence among races.Whether you think of racist science as bad science, evil science, alt-right science, or pseudoscience, why would any contemporary scientist imagine that gross inequality is a fact of nature, rather than of political history? Angela Saini's Superior connects the dots, laying bare the history, continuity, and connections of modern racist science, some more subtle than you might think.

    Starting once again with fossils, he turns his gaze skyward, showing us how the entirety of the universe’s fourteen-billion-year history can be seen in our bodies. As he moves from our very molecular composition (a result of stellar events at the origin of our solar system) through the workings of our eyes, Shubin makes clear how the evolution of the cosmos has profoundly marked our own bodies. Fully illustrated with black and white drawings.

    Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics—some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few—and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.

    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.

    In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    It will enable making a design for almost any kind of building, or any part of the built environment. ‘Patterns,’ the units of this language, are answers to design problems: how high should a window sill be?; how many stories should a building have?; how much space in a neighborhood should be devoted to grass and trees?More than 250 of the patterns in this language are outlined, each consisting of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seems likely that they will be a part of human nature and human action as much in five hundred years as they are today.A Pattern Language is related to Alexander’s other works in the Center for Environmental Structure series: The Timeless Way of Building (introductory volume) and The Oregon Experiment.

    Anthony Brandt and David Eagleman rifle through the inventions of human society like paleontologists ransacking the fossil record. Exploring examples from Apollo 13 to Pablo Picasso, they seek to answer the question: what lies at the heart of humanity's ability--and drive--to create? If you took a snapshot of any animal species' behavior, from apes to barnacles, and contrasted it with the same species 10,000 years ago, they'd all be carrying on pretty much as usual (and if they aren't, it's likely due to human influence). Humanity, on the other hand, would be nearly unrecognizable. Above all else, our drive to create is what makes us unique among all living things. Yet where does this all creation, innovation, and change come from? Why us? And if we better understand this -cognitive software-, can we harness it more responsibly to improve our lives, schools, businesses and institutions? Brandt and Eagleman examine hundreds of examples of human creativity through dramatic storytelling and stunning images in this beautiful, full-color volume. By drawing out what creative acts have in common and viewing them through the lens of cutting-edge neuroscience, they uncover the essential elements of this critical human ability, and encourage a more creative future for all of us.

    In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century.The dehumanization of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society.Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is.Princeton published the first English translation of the essay paired with another entitled Notes on the Novel. Three essays were later added to make an expanded edition, published in 1968, under the title The Dehumanization of Art and Other Essays on Art, Culture and Literature .

    Suppose, instead of thinking about organisms using genes to reproduce themselves, as we had since Mendel's work was rediscovered, we turn it around and imagine that "our" genes build and maintain us in order to make more genes. That simple reversal seems to answer many puzzlers which had stumped scientists for years, and we haven't thought of evolution in the same way since. Drawing fascinating examples from every field of biology, he paved the way for a serious re-evaluation of evolution. He also introduced the concept of self-reproducing ideas, or memes, which (seemingly) use humans exclusively for their propagation. If we are puppets, he says, at least we can try to understand our strings.

    For this understandable reason, the idea has been banished from polite academic conversation. Arguing that race is more than just a social construct can get a scholar run out of town, or at least off campus, on a rail. Human evolution, the consensus view insists, ended in prehistory. Inconveniently, as Nicholas Wade argues in A Troublesome Inheritance, the consensus view cannot be right. And in fact, we know that populations have changed in the past few thousand years—to be lactose tolerant, for example, and to survive at high altitudes. Race is not a bright-line distinction; by definition it means that the more human populations are kept apart, the more they evolve their own distinct traits under the selective pressure known as Darwinian evolution. For many thousands of years, most human populations stayed where they were and grew distinct, not just in outward appearance but in deeper senses as well. Wade, the longtime journalist covering genetic advances for The New York Times, draws widely on the work of scientists who have made crucial breakthroughs in establishing the reality of recent human evolution. The most provocative claims in this book involve the genetic basis of human social habits. What we might call middle-class social traits—thrift, docility, nonviolence—have been slowly but surely inculcated genetically within agrarian societies, Wade argues. These “values” obviously had a strong cultural component, but Wade points to evidence that agrarian societies evolved away from hunter-gatherer societies in some crucial respects. Also controversial are his findings regarding the genetic basis of traits we associate with intelligence, such as literacy and numeracy, in certain ethnic populations, including the Chinese and Ashkenazi Jews. Wade believes deeply in the fundamental equality of all human peoples. He also believes that science is best served by pursuing the truth without fear, and if his mission to arrive at a coherent summa of what the new genetic science does and does not tell us about race and human history leads straight into a minefield, then so be it. This will not be the last word on the subject, but it will begin a powerful and overdue conversation.