We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world.While holding this to be true of authentic art, the author acknowledges the presence--overwhelming in our media-saturated age--of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival.Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.

    Weaving stories about places to which he has recently traveled with images and memories that have persisted since childhood, Dyer tries "to work out what a certain place--a certain way of marking the landscape--means; what it's trying to tell us; what we go to it for." He takes his title from Gaugin's masterwork, and asks the same questions: Where do we come from, what are we, where are we going? The answers are elusive, hiding in French Polynesia, where he travels to write about Gaugin and the lure of the exotic; at the Museum of Fine Arts in Boston, where he goes to see the masterpiece in person only to be told it is traveling; and in Norway, where he and his wife journey to see, but end up not seeing, the Northern Lights. But at home in California, after a medical event that makes Dyer see everything in a different way, he may finally have found what he's been searching for.

    And then he met Sachiko.Vivacious, attractive, thoroughly educated, speaking English enthusiastically if eccentrically, the wife of a Japanese "salaryman" who seldom left the office before 10 P.M., Sachiko was as conversant with tea ceremony and classical Japanese literature as with rock music, Goethe, and Vivaldi. With the lightness of touch that made Video Night in Kathmandu so captivating, Pico Iyer fashions from their relationship a marvelously ironic yet heartfelt book that is at once a portrait of cross-cultural infatuation -- and misunderstanding -- and a delightfully fresh way of seeing both the old Japan and the very new.

    "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.The embattled heroes—Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko—each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"

    More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his "intellectual temper tantrums." A new essay, "American Beauty," concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.

    . .'Tucked away along a shady path towards the north-east edge of Hampstead Heath is a sign: Women Only. This is the Kenwood Ladies' Bathing Pond. Officially opened to the public in 1925, it is the only wild swimming spot in the UK that is reserved for women.Created centuries ago, the Heath's chain of ponds are one of the sources of the River Fleet that runs subterraneously through London. Swimming in the Ladies' Pond's green, silty, silky waters, it's hard to avoid the feeling that you are moving through history and outside of time.On a hot summer's day, thousands of swimmers from eight to eighty-odd can be found queuing to take a dip before sunbathing in the adjoining meadow. In the cooler months, when the water temperature plummets, the Pond is still visited daily by hardy regulars, many of whom have been swimming there for decades.Combining personal reminiscence with reflections on the history of the place over the years and through the seasons, for the first time this collection brings together writers' impressions of the Pond.

    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.

    The most comprehensive book ever published on drawing hands, it uses a revolutionary system for visualizing the hand in an almost infinite number of positions.

    Forget about Letterman's Top Ten, Amy Krouse Rosenthal's random ponderings on quirky topics are refreshingly clever and zany. Her humor is of the great everyday observational type that everyone can relate to.

    This striking assertion is at the heart of Rebecca Solnit’s new book, which weaves together biography, history, and fascinating insights into art and technology to create a boldly original portrait of America on the threshold of modernity. The story of Muybridge—who in 1872 succeeded in capturing high-speed motion photographically—becomes a lens for a larger story about the acceleration and industrialization of everyday life. Solnit shows how the peculiar freedoms and opportunities of post–Civil War California led directly to the two industries—Hollywood and Silicon Valley—that have most powerfully defined contemporary society.

    The strange imagination displayed in the pages, the impeccable technique and the very fine state of preservation make The Book of Kells an object of endless fascination.This edition reproduces the most important of the fully decorated pages plus a series of enlargements showing the almost unbelievable minuteness of the detail; spiral and interlaced patterns, human and animal ornament—a combination of high seriousness and humor. The text is by Bernard Meehan, the Keeper of Manuscripts at Trinity College, Dublin.

    Likewise, hatred must be learned and nurtured, if one wishes to become a proficient hater'This volume contains a selection of Nietzsche's brilliant and challenging aphorisms, examining the pleasures of revenge, the falsity of pity, and the incompatibility of marriage with the philosophical life.Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions.Friedrich Nietzsche (1844-1900) Nietzsche's works available in Penguin Classics are A Nietzsche Reader, Beyond Good and Evil, Ecce Homo, Human, All Too Human, On the Genealogy of Morals, The Birth of Tragedy, The Portable Nietzsche, Thus Spoke Zarathustra, Twilight of Idols and Anti-Christ.

    And while the country runs with clockwork precision, the cultural life of the inhabitants is transformed with the changing of the seasons, a testament to the enduring power of nature's rhythms.With each page alive with facts, history and inspiration, Be More Japan unlocks the secrets behind modern Japanese living - whether you're eating sushi in London or enjoying the cherry blossoms in San Francisco. And if you're dreaming of a future trip to Japan, this book will get you closer to your destination before you've even departed.

    The pieces in this volume show him to be at times playful, more serious at other, but writing always with the lightest of touches. He had the keenest of eyes for the 'infra-ordinary', the things we do every day - eating, sleeping, working - and the places we do them in without giving them a moment's thought. But behind the lightness and humour, there is also the sadness of a French Jewish boy who lost his parents in the Second World War and found comfort in the material world around him, and above all in writing.This volume contains a selection of Georges Perec's non-fiction works, along with a charming short story, 'The Winter Journey'. It also includes notes and an introduction describing Perec's life and career.

    No Path in Darjeeling Is Straight is a memory of his time in the iconic town, and one of the finest works of Indian non-fiction in recent years.Parimal evocatively describes his arrival, through drizzle and impenetrable fog, at a place that was at odds with the grand picture of it he had painted for himself. And his first night there was spent sleepless in a ramshackle hotel above a butcher's shop. Yet, as he tramped its roads and winding footpaths, Darjeeling grew on him. He sought out its history: a land of incomparable beauty originally inhabited by the Lepchas and other tribes; the British who took it for themselves in the mid-1800s so they could remember home; the Darjeeling Himalayan Railway--once a vital artery, now a quaint toy train--built in 1881; and the vast tea gardens with which the British replaced verdant forests to produce the fabled Orange Pekoe.In the enmeshed lives of his neighbours--of various castes, tribes, religions and cultures--lived at the measured pace of a small town, Parimal discovered a richly cosmopolitan society which endured even under threat from cynical politics and haphazard urbanization. He also found new friends: Benson, a colleague whose death from AIDS showed him the dark underbelly of the hill station; Pratap and Newton, whose homes and lives reflected the irreconcilable pulls of tradition and upward mobility; and Julia and Hemant, with whom he trekked the forests of the Singalila mountains in search of a vanished Lepcha village and a salamander long thought extinct.With empathy, and in shimmering prose, No Path in Darjeeling Is Straight effortlessly merges travel, history, literature, memory, politics and the pleasures of ennui into an unforgettable portrait of a place and its people.