This book presents a study of human intelligence beginning with a semantic theory and leading into a critique of music. By implication it sets up a theory of all the arts; the transference of its basic concepts to other arts than music is not developed, but it is sketched, mainly in the chapter on artistic import. Thoughtful readers of the original edition discovered these far-reaching ideas quickly enough as the career of the book shows: it is as applicable to literature, art and music as to the field of philosophy itself. The topics it deals with are many: language, sacrament, myth, music, abstraction, fact, knowledge--to name only the main ones. But through them all goes the principal theme, symbolic transformation as the essential activity of human minds. This central idea, emphasizing as it does the notion of symbolism, brings Mrs. Langer's book into line with the prevailing interest in semantics. All profound issues of our age seem to center around the basic concepts of symbolism and meaning. The formative, creative, articulating power of symbols is the tonic chord which thinkers of all schools and many diverse fields are unmistakably striking; the surprising, far-reaching implications of this new fundamental conception constitute what Mrs. Langer has called "philosophy in a new key." Mrs. Langer's book brings the discussion of symbolism into a wider general use than criticism of word meaning. Her volume is vigorous, effective, and well written and will appeal to everyone interested in the contemporary problems of philosophy.

    The book comprises a string of dramatic and evocative locales, each embodying specific artistic tendencies and together spanning the modern era--from Dresden in 1764 to New York in 1941. Along the way, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarme to the Folies-Bergere, attend a lecture by Emerson, and visit exhibitions in Paris and New York, factories in Berlin, and film sets in Moscow and Hollywood. Ranciere uses these sites and events--some famous, others forgotten--to ask what becomes art and what comes of it. He shows how a regime of artistic perception and interpretation was constituted and transformed by erasing the distinctions between the different arts along with the borders separating them from ordinary experience.This incisive study provides a history of artistic modernity far removed from conventional understandings of modernism.

    For students of museum, cultural and sociology studies, this will be an asset to their reading list.

    In this new intervention, Fredric Jameson—perhaps the most influential and persuasive theorist of postmodernity—excavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive ‘modernity’ as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well.In this major new interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms—which can probably not be banished at this late date—helps us clarify our present political and artistic situations.

    Juried by distinguished artist and educator Joe Bova, this magnificent gallery includes pieces from an international group of artists; the beautifully crafted works range from the representational to the abstract, from artful realism to provocative surrealism (including animal-human hybrids). Ann Marais’ image of a waterfowl painted onto a porcelain dish has a restrained, Asian quality. Sharkus’ painted and smoke-fired stoneware turtle could easily be mistaken for the living creature. Bova provides astute and illuminating commentary overall, with selected artists’ notes.

    This text provides a strong foundation in basic science, followed by practical step-by-step clinical applications. Procedures are presented in an organized, systematic format, and are illustrated by over 3,000 clear, high-quality drawings and photographs, now in full-color. The material is logically divided into sections that cover planning and preparation, clinical procedures, and laboratory procedures. The text also includes two invaluable appendices that provide an updated list of dental materials and equipment, as well as a guide to manufacturers.Follows ADEA curriculum guidelines for fixed prosthodontics Features hundreds of step-by-step proceduresIntegrates basic science with clinical applicationsEnd-of-chapter glossaries consistent with the most recent edition of The Glossary of Prosthodontic Terms (see above)Text boxes scattered throughout present quick facts and tips about selected artworkSelected key terms presented at the beginning of each chapter and set in bold type within the text facilitates rapid information retrievalEssay format study questions offer the reader an opportunity to test his or her knowledge and comprehension after reading each chapterUpdated references support concepts presented in each chapter.Valuable appendices on dental materials/equipment and manufacturers.15 contributors collaborate with the editors to present up-to-date information and state-of-the-art techniques in prosthodontics.Full color design that creates an immediate visual impact and will help to better illustrate concepts Classification System for Partial EdentulismExtensive changes have been made to the content and illustrations of many chaptersNew and re-shot step-by-step illustrations.Updates in Implant-Supported Fixed Prosthesis including new illustrations and discussion on contemporary practiceChapters that focus on the essential aspects of prosthodontics and provide the information needed in day-to-day practice.Greatly expanded section on dental esthetics, focusing specifically on achieving the optimal cosmetic result for the patient.Expanded information on resin luting agents.Updates including a variety of new illustrations showing the effects of long-term follow-up.

    The con man's mark was Hermann Goering, one of the most reviled leaders of Nazi Germany and a fanatic collector of art.It was an almost perfect crime. For seven years a no-account painter named Han van Meegeren managed to pass off his paintings as those of one of the most beloved and admired artists who ever lived. But, as Edward Dolnick reveals, the reason for the forger's success was not his artistic skill. Van Meegeren was a mediocre artist. His true genius lay in psychological manipulation, and he came within inches of fooling both the Nazis and the world. Instead, he landed in an Amsterdam court on trial for his life.ARTnews called Dolnick's previous book, the Edgar Award-winning The Rescue Artist, "the best book ever written on art crime." In The Forger's Spell, the stage is bigger, the stakes are higher, and the villains are blacker.

    It looks at painting, photography, film, television, and new media across the realms of art, advertising, news, science, and law. Authors Marita Sturken and Lisa Cartwright present the diverse ranges of approaches to visual analysis that have emerged in the last few decades, and lead the reader through the key theories of visual culture in an accessible and highly readable approach. Including over 180 images, this truly interdisciplinary and beautifully designed book aims to be a comprehensive introduction for anyone interested in images, and the key text for courses across a range of disciplines including media and film studies, art history, photography, and communication.

    But the essays of Julia Kristeva in this volume, though they often deal with literature and art, do not amount to either "literary criticism" or "art criticism." Their concern, writes Kristeva, "remains intratheoretical: they are based on art and literature in order to subvert the very theoretical, philosophical, or semiological apparatus."Probing beyond the discoveries of Sigmund Freud, Jacques Lacan, Roman Jakobson, and others, Julia Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva's "genuine gift of questioning generally adopted 'axioms, ' and her contrary gift of releasing various 'damned questions' from their traditional question marks."

    With a refreshingly new approach to free-motion stitching, First Steps to Free-Motion Quilting encourages you to make something beautiful while improving your free-motion quilting skills. You'll find 24 projects and quilts that are light on assembly so you can spend most of your time stitching. A handy troubleshooting guide ensures success every step of the way.

    This tendency can be found in practices and projects ranging from El Lissitzky's exhibition designs to Allan Kaprow's happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord's celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life. This publication collects texts that place this artistic development in historical and theoretical context.Participation begins with writings that provide a theoretical framework for relational art, with essays by Umberto Eco, Bertolt Brecht, Roland Barthes, Peter B�rger, Jen-Luc Nancy, Edoaurd Glissant, and F�lix Guattari, as well as the first translation into English of Jacques Ranci�re's influential Problems and Transformations in Critical Art. The book also includes central writings by such artists as Lygia Clark and H�lio Oiticica, Joseph Beuys, Augusto Boal, Felix Gonzalez-Torres, Thomas Hirschhorn, and Rirkrit Tiravanija. And it features recent critical and curatorial debates, with discussions by Lars Bang Larsen, Nicolas Bourriaud, Hal Foster, and Hans-Ulrich Obrist.Copublished with Whitechapel Art Gallery, London

    This almost overwhelming accumulation of words and images illuminates the condition of architecture today--its splendors and miseries--exploring and revealing the corrosive effects of politics, context, the economy, and globalization. In some ways, this is the "Medium is the Message" of 1990s architectural discourse: guaranteed to be hugely influential in the coming decades, but grossly misunderstood by those who have not read it. The core arguments it makes about metropolitan architecture--accepting complexity and lack of centralized control--are similar to those of Kevin Kelly's Out of Control: The New Biology of Machines, Social Systems and the Economic World. Very highly recommended.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    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 .

    This ground-breaking analysis of color in Western culture from the ancient Greeks to the late twentieth century is a John Gage triumph. With originality and erudition, he describes the first theories of color articulated by philosophers from Democritus to Aristotle and the subsequent attempts by the Romans and their Renaissance disciples to organize color systematically or endow it with symbolic power. The place of color in religion, Newton's analysis of the spectrum, Goethe's color theory, and the theories and practices that have attempted to unite color and music are among the intriguing topics this award-winning book illuminates.With a large classified bibliography, discursive footnotes, and an exhaustive index, Color and Culture is an invaluable resource for artists, historians of art and culture, psychologists, linguists, and anyone fascinated by this most inescapable and evocative element of our perceptions.