Finally available in English, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies.Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.

    Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.Goodman concludes with speculations on the not yet heard--the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

    She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic.By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, F�lix Guattari, and Jakob von Uexk�ll, we are able to grasp art's deep animal lineage.Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.

    Richard Gregory offers clear explanations of how we see brightness, movement, color, and objects, and he explores the phenomena of visual illusions to establish principles about how perception normally works and why it sometimes fails.Illusion continues to be a major theme in the book, which provides a comprehensive classification system. There are also sections on what babies see and how they learn to see, on motion perception, the relationship between vision and consciousness, and on the impact of new brain imaging techniques.

    Tom Wright also looks at the way we interpret the different Gospel narratives about Jesus, showing how modern readers coming fresh to these texts can do so in an informed and discriminating way. Written in a lively, non-technical style, and illustrated throughout with full-colour photographs, The Original Jesus offers a compelling insight into what Jesus really stood for, why he was crucified, and how it was that his followers came to regard him as nothing less than the human face of God.

    What remains after the fall is a wild mixture of cultural debris, confused and angry people whose certainties have betrayed them, and those forces which were always there, deeper than the foundations of the city walls: the desire to survive and the desire for meaning.”‘Uncivilisation’ is a manifesto for writers, artists and storytellers – and for all of us, living through the end of the world as we know it. It’s a first attempt to set out the ideas behind the Dark Mountain Project and an invitation to join us in the search for the paths by which to reach the unknown world ahead.

    Like the parables of Jesus, these tales repeatedly unfold new levels of meaning if we are willing to sit with them.

    Originally published in Munich in 1912 and edited by Kandinsky and Marc-- the movements's almanac presented their synthesis of international culture to the European avant garde at large. In both the selection of essays and its innovative interplay of word and image, The Blaue Reiter Almanac remains one of our most critically important works of literature on the art theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of Modernism, simulates the original German format, and includes documents, and musical notations, as well as seminal essays by Kandinsky, Schoenberg, Marc and others. Nearly 150 illustrations, from ancient and contemporary sources, capture the wide-ranging interests and passions that inspired Kandinsky's and Marc's programmatic attempt to make Modernism accessible across national and chronological boundaries. Also included is Klaus Lankheit's extensive critical introduction, which places the Blaue Reiter in context for contemporary readers."The almanac remains unique among European writings on art; no other country produced a comparable work capturing the excitement and tension of the years before World War I." (Will Grohmann)

    Folktales about and exploration of the mystical meanings of the Hebrew Alphabet. Open the old prayerbook-like pages of The Book of Letters and you will enter a special world of sacred tradition and religious feeling. More than just symbols, all twenty-two letters of the Hebrew alphabet overow with meanings and personalities of their own.

    Once you have enjoyed experimenting with these fun taster projects, there are many more Twenty to Make books available on lots of different craft subjects.We hope that experimenting with these projects will inspire you to try out some of the Twenty to Make titles that these projects have been taken from, when you have had some fun making these tasters! There are projects both for beginners and more experienced crafters to try; from stitching a simple but effective Christmas place setting in felt, and making a lovely pair of button earrings using pretty shell buttons; to crocheting a flower, or a gorgeous beanie hat, and trying your hand at sugarcraft, with a cute dog, a hippopotamus, or a fairy. You could also knit a scarf for the special person in your life, or a cute and cuddly teddy bear for a child. These exciting projects are sure to appeal to a wide range of crafters and will make lovely gifts for family and friends alike. Have fun and happy crafting!Projects include Christmas bunting, sugar dogs and other animals, crocheted flowers, tiny bag made from Jelly Roll scraps, knitted mug hugs, granny squares, knitted baby bootees, a stitched fabric brooch, Steampunk style bracelet, friendship bracelets, earrings made from buttons and much more.

    How do I even keep going?" When the dreams for our life die, our vision of who we hoped to become often dies too. That's when The Voice of Giving Up appears.Visual artist and spiritual director Scott Erickson has had long midnight conversations with The Voice of Giving Up, and he knows how anxiety and depression make The Voice especially loud. But he's discovered that our darkest moments are sometimes doorways to a deeper, more joy-filled journey of recovering who we are, why we're here, and why the future bursts with possibilities if we are willing to say yes to life's brightest gifts.In Say Yes, Scott helps you learn how to reawaken your deepest desires, disempower your greatest fears, and identify the destructive narratives holding you back. Combined with Scott's beautiful, thought-provoking illustrations, this is a profound exploration of beginning again after:Disappointment at how life is turning outSuspecting we are not prepared or smart enoughLosing hope that change is possible and that pain can have a purposeTake the first step to gain the gentle yet powerful tools you need, and say yes to what lies ahead today.

    The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies & James Taylor. They've been supplemented by notes of conversations on Freud (to whom reference was made in the course on esthetics) between him & Rush Rhees & by notes of some lectures on religious belief. As very little is known of his views on these subjects from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh & informal style should recommend him to those who find his "Tractatus" & "Philosophical Investigations" a little formidable.PrefaceLectures on aesthetics Conversations on Freud Lectures on religious belief

    Featured contributors include Jamaica Kincaid, bell hooks, Francisco X. Alarcon, Yusef Komunyakaa, Diane Glancy, and others.

    They summarize his previous insights and exhibit their widest range of application-in aesthetics, ethics, politics, and the sciences of man. Each essay opens new perspectives to man's search for reason. The first part of Sense and Non-Sense, "Arts," is concerned with Merleau-Ponty's concepts of perception, which were advanced in his major philosophical treatise, Phenomenology of Perception. Here the analysis is focused and enriched in descriptions of the perceptual world of Cezanne, the encounter with the Other as expressed in the novels of Simone de Beauvoir and Sartre, and the gestalt quality of experience brought out in the film art form. In the second part, "Ideas," Merleau-Ponty shows how the categories of the phenomenology of perception can be understood as an outgrowth of the behavioral sciences and how a model of existence based on perception sensitizes us to the insights and limitations of previous philosophies and suggests constructive criticisms of contemporary philosophy. The third part, "Politics," clarifies the political dilemmas facing intellectuals in postwar France.

    The most generous friend. The most miraculous inventor. Our connection with nature is not so easily obscured by lives spent indoors.