With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience.For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium?In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback—its sonic and cultural layers and vibrations—Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media.

    Readers have come to expect him not only to fill in their knowledge about art but also to inspire them to think about connections between art and the larger world - which is to say, to think more like an artist. Kimmelman's many years of contemplating and writing about art have brought him to this wise, wide-ranging, and long-awaited book.It explores art as life's great passion, revealing what we can learn of life through pictures and sculptures and the people who make them. It assures us that art - points of contact with the exceptional that are linked straight to the heart - can be found almost anywhere and everywhere if only our eyes are opened enough to recognize it. Kimmelman regards art, like all serious human endeavors, as a passage through which a larger view of life may come more clearly into focus. His book is a kind of adventure or journey.It carries the message that many of us may not yet have learned how to recognize the art in our own lives. To do so is something of an art itself. A few of the characters Kimmelman describes, like Bonnard and Chardin, are great artists. But others are explorers and obscure obsessives, paint-by-numbers enthusiasts, amateur shutterbugs, and collectors of strange odds and ends. Yet others, like Charlotte Solomon, a girl whom no one considered much of an artist but who secretly created a masterpiece about the world before her death in Auschwitz, have reserved spots for themselves in history, or not, with a single work that encapsulates a whole life.Kimmelman reminds us of the Wunderkammer, the cabinet of wonders - the rage in seventeenth-century Europe and a metaphor for the art of life. Each drawer of the cabinet promises something curious and exotic, instructive and beautiful, the cabinet being a kind of ideal, self-contained universe that makes order out of the chaos of the world. The Accidental Masterpiece is a kind of literary Wunderkammer, filled with lively surprises and philosophical musings. It will inspire readers to imagine their own personal cabinet of wonders.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    Includes lectures, essays, diaries and other writings, including "How to Improve the World (You Will Only Make Matters Worse)" and "Juilliard Lecture."

    If art can be anything, where do you begin?For more than three decades Calvin Tomkins’s incisive profiles in The New Yorker have given readers the most satisfying reports on contemporary art and artists available in any language. In Lives of the Artists ten major artists are captured in Tomkins’s cool and ironic style to record the new directions art is taking during these days of limitless freedom. As formal technique and rigorous training continue to fall away, art has become an approach to living. As the author says, “the lives of contemporary artists are today so integral to what they make that the two cannot be considered in isolation.”Among the artists profiled are Jeff Koons and Damien Hirst, the reigning heirs of deliberately outrageous art that feeds off the allegedly corrupting influences of capitalist glut and entertainment; Matthew Barney of the pregenital obsessions; Cindy Sherman, who manages multiple transformations as she disappears into her own work; and Julian Schnabel, who has forged a second career as award-winning film director. Tomkins shows that the making of art remains among the most demanding jobs on earth.

    Bourdieu's subject is the study of culture, and his objective is most ambitious: to provide an answer to the problems raised by Kant's Critique of Judgment by showing why no judgment of taste is innocent."A complex, rich, intelligent book. It will provide the historian of the future with priceless materials and it will bring an essential contribution to sociological theory."— Fernand Braudel "One of the more distinguished contributions to social theory and research in recent years . . . There is in this book an account of culture, and a methodology of its study, rich in implication for a diversity of fields of social research. The work in some ways redefines the whole scope of cultural studies."— Anthony Giddens, Partisan Review"A book of extraordinary intelligence." — Irving Louis Horowitz, Commonweal“Bourdieu’s analysis transcends the usual analysis of conspicuous consumption in two ways: by showing that specific judgments and choices matter less than an esthetic outlook in general and by showing, moreover, that the acquisition of an esthetic outlook not only advertises upper-class prestige but helps to keep the lower orders in line. In other words, the esthetic world view serves as an instrument of domination. It serves the interests not merely of status but of power. It does this, according to Bourdieu, by emphasizing individuality, rivalry, and ‘distinction’ and by devaluing the well-being of society as a whole.”— Christopher Lasch, Vogue

    For novelist and critic Gabriel Josipovici, the contemporary novel in English is profoundly disappointing—a poor relation of its groundbreaking Modernist forebears. This agile and passionate book asks why.Modernism, Josipovici suggests, is only superficially a reaction to industrialization or a revolution in diction and form; essentially, it is art coming to consciousness of its own limits and responsibilities. And its origins are to be sought not in 1850 or 1800, but in the early 1500s, with the crisis of society and perception that also led to the rise of Protestantism. With sophistication and persuasiveness, Josipovici charts some of Modernism’s key stages, from Dürer, Rabelais, and Cervantes to the present, bringing together a rich array of artists, musicians, and writers both familiar and unexpected—including Beckett, Borges, Friedrich, Cézanne, Stevens, Robbe-Grillet, Beethoven, and Wordsworth. He concludes with a stinging attack on the current literary scene in Britain and America, which raises questions about not only national taste, but contemporary culture itself.Gabriel Josipovici has spent a lifetime writing, and writing about other writers. What Ever Happened to Modernism? is a strident call to arms, and a tour de force of literary, artistic, and philosophical explication that will stimulate anyone interested in art in the twentieth century and today.

    But how are they being heard? In this book, Damon Krukowski examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. In Ways of Hearing--modeled on Ways of Seeing, John Berger's influential 1972 book on visual culture--Krukowski offers readers a set of tools for critical listening in the digital age. Just as Ways of Seeing began as a BBC television series, Ways of Hearing is based on a six-part podcast produced for the groundbreaking public radio podcast network Radiotopia. Inventive uses of text and design help bring the message beyond the range of earbuds.Each chapter of Ways of Hearing explores a different aspect of listening in the digital age: time, space, love, money, and power. Digital time, for example, is designed for machines. When we trade broadcast for podcast, or analog for digital in the recording studio, we give up the opportunity to perceive time together through our media. On the street, we experience public space privately, as our headphones allow us to avoid "ear contact" with the city. Heard on a cell phone, our loved ones' voices are compressed, stripped of context by digital technology. Music has been dematerialized, no longer an object to be bought and sold. With recommendation algorithms and playlists, digital corporations have created a media universe that adapts to us, eliminating the pleasures of brick-and-mortar browsing. Krukowski lays out a choice: do we want a world enriched by the messiness of noise, or one that strives toward the purity of signal only?

    Harry Sword traces the line from neolithic Indo-European traditions to the modern underground by way of mid-20th Century New York, navigating a beguiling topography of archeoacoustics, ringing feedback, chest plate sub bass, avant-garde eccentricity, and fervent spiritualism. From ancient beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, North Mississippi bluesmen to cone-shattering South London dub reggae sound systems, Hawkwind's Ladbroke Grove to the outer reaches of Faust, Ash Ra Temple and sonic architects like La Monte Young, Brian Eno, and John Cale, the opium-fueled fug of The Theatre of Eternal Music to the caveman doom of Saint Vitus, the cough syrup reverse hardcore of Swans to the seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow probes the power of the drone: something capable of affording womb-like warmth or evoking cavernous dread alike.This story does not start in the twentieth century underground: the monolithic undertow has bewitched us for millennia. The book takes the drone not as codified genre but as an audio carrier vessel deployed for purposes of ritual, personal catharsis, or sensory obliteration, revealing also a naturally occurring auditory phenomenon spanning continents and manifesting in fascinatingly unexpected places.Monolithic Undertow will be a book about music and the very human need for transcendence and intoxication through sound. It seeks to reveal the drone as a tool of personal liberation that exists far outside the brittle confines of commodity culture.

    In Where Is Ana Mendieta? art historian Jane Blocker provides an in-depth critical analysis of Mendieta’s diverse body of work. Although her untimely death in 1985 remains shrouded in controversy, her life and artistic legacy provide a unique vantage point from which to consider the history of performance art, installation, and earth works, as well as feminism, multiculturalism, and postmodernism. Taken from banners carried in a 1992 protest outside the Guggenheim Museum in New York, the title phrase “Where is Ana Mendieta?” evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Blocker discusses the power of Mendieta’s earth-and-body art to alter, unsettle, and broaden the terms of identity itself. She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta’s use of mythology and anthropology, the ephemeral nature of her media, and the debates over her ethnic, gender, and national identities. As the first major critical examination of this enigmatic artist’s work, Where Is Ana Mendieta? will interest a broad audience, particularly those involved with the production, criticism, theory, and history of contemporary art.

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man

    Manifestoes of Surrealism is a book by André Breton, describing the aims, meaning, and political position of the Surrealist movement.The translators of this edition were finalists of the 1970 National Book Awards in the category of translation.

    Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.