He argues that the development of communication media has transformed the spatial and temporal constitution of social life, creating new forms of action and interaction which are no longer linked to the sharing of a common locale. The consequences of this transformation are far-reaching and impinge on many aspects of our lives, from the most intimate aspects of personal experience and self-formation to the changing nature of power and visibility in the public domain.Combining breadth of vision with sensitivity to detail, this book situates the study of the media where it belongs: among a set of disciplines concerned with the emergence, development and structural characteristics of modern societies and their futures.

    Also included is information on the materials used by each artist, how-to draw and illustrate guidelines, and a glossary of terms for drawing lifelike Gothic Lolita manga and anime characters.

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    Mike Davis shows us where the city's money comes from and who controls it while also exposing the brutal ongoing struggle between L.A.'s haves and have-nots.

    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.

    He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss, and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is "a psychological quest not alien to death."

    Here, the author provides a lively historical context for critical play through 20th-century art movements, connecting subversive game design to subversive art.

    For most of the 19th century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting & sculpture, as well as the writings of such authors as Dickens & Longfellow--enjoyed both high cultural status & mass popularity. In the 19th century Americans (in addition to whatever specific ethnic, class & regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the 20th century this cultural eclecticism & openness became increasingly rare. Cultural space was more sharply defined, less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population & the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences & separate genres of expressive culture. The same transition occurred in concert halls, opera houses & museums. A growing chasm between 'serious' & 'popular', 'high' & 'low' culture came to dominate the expressive arts."If there is a tragedy in this development," Levine notes, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven & Verdi, whom they had enjoyed in various formats for much of the 19th century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value & importance of the popular art forms that were all around them. "Too many of those who considered themselves educated & cultured lost for a significant period--& many have still not regained--their ability to discriminate independently, to sort things out for themselves & understand that simply because a form of expressive culture was widely accessible & highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."Note: first presented as The William E. Massey Sr. Lectures in the History of American Civilization in 1986,

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand—artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities. Their projects have addressed such issues as political conflict in Northern Ireland, gang violence on Chicago's West Side, and the problems of sex workers in Switzerland. Provocative, accessible, and engaging, this book, one of the first full-length studies on the topic, situates these socially conscious projects historically, relates them to key issues in contemporary art and art theory, and offers a unique critical framework for understanding them.Grant Kester discusses a disparate network of artists and collectives—including The Art of Change, Helen and Newton Harrison, Littoral, Suzanne Lacy, Stephen Willats, and WochenKlausur—united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture. Kester traces the origins of these works in the conceptual art and feminist performance art of the 1960s and 1970s and draws from the writings of Mikhail Bakhtin, Jürgen Habermas, and others as he explores the ways in which these artists corroborate and challenge many of the key principles of avant-garde art and art theory.

    My Life as a Night Elf Priest digs deep beneath the surface of that icon to explore the rich particulars of the World of Warcraft player's experience."—Julian Dibbell, Wired"World of Warcraft is the best representative of a significant new technology, art form, and sector of society: the theme-oriented virtual world. Bonnie Nardi's pioneering transnational ethnography explores this game both sensitively and systematically using the methods of cultural anthropology and aesthetics with intensive personal experience as a guild member, media teacher, and magical quest Elf."—William Sims Bainbridge, author of The Warcraft Civilization and editor of Online Worlds “Nardi skillfully covers all of the hot button issues that come to mind when people think of video games like World of Warcraft such as game addiction, sexism, and violence. What gives this book its value are its unexpected gems of rare and beautifully detailed research on less sensationalized topics of interest such as the World of Warcraft player community in China, game modding, the increasingly blurred line between play and work, and the rich and fascinating lives of players and player cultures.  Nardi brings World of Warcraft down to earth for non-players and ties it to social and cultural theory for scholars.  . . . the best ethnography of a single virtual world produced so far.”—Lisa Nakamura, University of IllinoisWorld of Warcraft rapidly became one of the most popular online world games on the planet, amassing 11.5 million subscribers—officially making it an online community of gamers that had more inhabitants than the state of Ohio and was almost twice as populous as Scotland. It's a massively multiplayer online game, or MMO in gamer jargon, where each person controls a single character inside a virtual world, interacting with other people's characters and computer-controlled monsters, quest-givers, and merchants.In My Life as a Night Elf Priest, Bonnie Nardi, a well-known ethnographer who has published extensively on how theories of what we do intersect with how we adopt and use technology, compiles more than three years of participatory research in Warcraft play and culture in the United States and China into this field study of player behavior and activity. She introduces us to her research strategy and the history, structure, and culture of Warcraft; argues for applying activity theory and theories of aesthetic experience to the study of gaming and play; and educates us on issues of gender, culture, and addiction as part of the play experience. Nardi paints a compelling portrait of what drives online gamers both in this country and in China, where she spent a month studying players in Internet cafes.Bonnie Nardi has given us a fresh look not only at World of Warcraft but at the field of game studies as a whole. One of the first in-depth studies of a game that has become an icon of digital culture, My Life as a Night Elf Priest will capture the interest of both the gamer and the ethnographer.Bonnie A. Nardi is an anthropologist by training and a professor in the Department of Informatics in the Donald Bren School of Information and Computer Sciences at the University of California, Irvine. Her research focus is the social implications of digital technologies. She is the author of A Small Matter of Programming: Perspectives on End User Computing and the coauthor of Information Ecologies: Using Technology with Heart and Acting with Technology: Activity Theory and Interaction Design.Cover art by Jessica Damsky

    In Music as Social Life, Thomas Turino explores why it is that music and dance are so often at the center of our most profound personal and social experiences. Turino begins by developing tools to think about the special properties of music and dance that make them fundamental resources for connecting with our own lives, our communities, and the environment. These concepts are then put into practice as he analyzes various musical examples among indigenous Peruvians, rural and urban Zimbabweans, and American old-time musicians and dancers. To examine the divergent ways that music can fuel social and political movements, Turino looks at its use by the Nazi Party and by the American civil rights movement. Wide-ranging, accessible to anyone with an interest in music’s role in society, and accompanied by a compact disc, Music as Social Life is an illuminating initiation into the power of music.

    This new edition of Hesmondhalgh′s clearly written, thoroughly argued overview of political-economic, organizational, technological, and cultural change represents yet another important intervention in research on cultural production.

    She guides us through the ruins and construction sites of post-communist cities--St. Petersburg, Moscow, Berlin, and Prague--and the imagined homelands of exiles-Benjamin, Nabokov, Mandelstahm, and Brodsky. From Jurassic Park to the Totalitarian Sculpture Garden, Boym unravels the threads of this global epidemic of longing and its antidotes.

    A short illustrated survey of the use of photography in contemporary art since the mid-1980s.