Through an insightful study of Romantic poets, Bloom puts forth his central vision of the relations between precursors and the individual artist. His argument that all literary texts are a strong misreading of those that precede them had an enormous impact on the practice of criticism and post-structuralist literary theory. The book remains a central work of criticism for all students of literature.Written in a moving personal style, anchored by concrete examples, and memorable quotations, this second edition of Bloom's classic work maintains that the anxiety of influence cannot be evaded - neither by poets nor by responsible readers and critics. A new introduction, centering upon Shakespeare and Marlowe explains the genesis of Bloom's thinking, and the subsequent influence of the book on literary criticism of the past quarter of a century.

    Lessig reveals the solutions to this impasse offered by a collaborative yet profitable “hybrid economy”.Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war—a war waged against our kids and others who create and consume art. America’s copyright laws have ceased to perform their original, beneficial role: protecting artists’ creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions. For many, new technologies have made it irresistible to flout these unreasonable and ultimately untenable laws. Some of today’s most talented artists are felons, and so are our kids, who see no reason why they shouldn’t do what their computers and the Web let them do, from burning a copyrighted CD for a friend to “biting” riffs from films, videos, songs, etc and making new art from them.Criminalizing our children and others is exactly what our society should not do, and Lessig shows how we can and must end this conflict—a war as ill conceived and unwinnable as the war on drugs. By embracing “read-write culture,” which allows its users to create art as readily as they consume it, we can ensure that creators get the support—artistic, commercial, and ethical—that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the “sharing economy” evident in such Web sites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm—from news to music—and Lessig shows how we can and should use it to benefit those who make and consume culture.Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.

    Now revised, enlarged and expanded, Kenneth Frampton brings the story up to date and adds an entirely new concluding chapter that focuses on four countries where individual talent and enlightened patronage have combined to produce a comprehensive and convincing architectural culture: Finland, France, Spain and Japan. The bibliography has also been reviewed and extended, making this volume more indispensable than ever.

    The Idea Book is 150 pages of ideas, 150 empty pages for your own idea. It’s an idea book. The “book part” consists of 63 different chapters on how you can develop new ideas. Every chapter ends with a practical activity, or exercise, where the reader can practice the lesson of that chapter. The book is full of stories, anecdotes, and quotes about how to generate ideas. The “notebook part” is a place for you to work on and store your best ideas. Follow the tradition of a long line of creatives who have used a small, black notebook to catch their ideas. The combination of creativity boosts from the chapters, and a beautiful notebook for your ideas makes The Idea Book the perfect companion for anyone who wants to nurture their creativity.

    Ranging from fundamental existential questions to the most pressing social issues of our time, This Life shows why our commitment to freedom and democracy should lead us beyond both religion and capitalism.In this groundbreaking book, the philosopher Martin Hägglund challenges our received notions of faith and freedom. The faith we need to cultivate, he argues, is not a religious faith in eternity but a secular faith devoted to our finite life together. He shows that all spiritual questions of freedom are inseparable from economic and material conditions. What ultimately matters is how we treat one another in this life, and what we do with our time together.Hägglund develops new existential and political principles while transforming our understanding of spiritual life. His critique of religion takes us to the heart of what it means to mourn our loved ones, be committed, and care about a sustainable world. His critique of capitalism demonstrates that we fail to sustain our democratic values because our lives depend on wage labor. In clear and pathbreaking terms, Hägglund explains why capitalism is inimical to our freedom, and why we should instead pursue a novel form of democratic socialism.In developing his vision of an emancipated secular life, Hägglund engages with great philosophers from Aristotle to Hegel and Marx, literary writers from Dante to Proust and Knausgaard, political economists from Mill to Keynes and Hayek, and religious thinkers from Augustine to Kierkegaard and Martin Luther King, Jr. This Life gives us new access to our past--for the sake of a different future.

    During his more than forty years in the business, Williams has been one of the true innovators, winning three Academy Awards and serving as the link between Disney's golden age of animation by hand and the new computer animation exemplified by Toy Story. Perhaps even more important, though, has been his dedication in passing along his knowledge to a new generation of animators so that they in turn could push the medium in new directions. In this book, based on his sold-out master classes in the United States and across Europe, Williams provides the underlying principles of animation that every animator--from beginner to expert, classic animator to computer animation whiz --needs. Urging his readers to "invent but be believable," he illustrates his points with hundreds of drawings, distilling the secrets of the masters into a working system in order to create a book that will become the standard work on all forms of animation for professionals, students, and fans.

    He follows the changing trends in the making and significance of art in different cultures, and explains why the art of the day looked and functioned as it did. Key images and objects-some of them familiar works of art; others, less known but equally crucial to the story-act as landmarks on the journey, focal points around which the discussion always centers. Along the way, Bell answers fundamental questions such as "What is art and where does it start?" and "Why do humans make it and how does it serve them?"Previous histories tended to focus only on the masterpieces of Western art, in the process excluding the work of women or non-Western artists, or else considering developments around the world as separate, unrelated phenomena. Bell's achievement is to take a global perspective, bringing the distinct stories together in one convincing narrative. He draws insightful and inspired connections between different continents and cultures and across the millennia, which results in a rich and seamless introduction to the world of visual creativity.Hundreds of carefully selected illustrations show how artists from different ages and societies often shared the same formal, technical, and aesthetic concerns, while others took divergent paths when their vision dictated it.Julian Bell, himself a well-known painter, is the grandson of Vanessa and Clive Bell, key members of the celebrated Bloomsbury group of writers and artists. His books include What is Painting?.

    Defines and explains various concepts regarding the painter's intentions in order to provide a basis for understanding of a work of art.

    This self-discovery workbook contains 16 short essays interspersed with writing and drawing excercises on numerous topics, including money, body image, relationships, and career.

    Born in a small town in Nova Scotia to a mother who begins yelling at him the moment he is born and a father who keeps his own counsel, Buck imbibes fear and insecurity like other kids guzzle milk. Hobbled by his fears and demons, Buck almost disappears into the “evil in the woods” that lurks just beyond the town's border . . . until he is saved by three gifts: baseball, romantic love and music. His epic journey­­—full of diversions, coincidences, and larger-than-life characters—out of the darkness of his suicide-plagued childhood and into the bright wide world begins with a killer pitching arm (Buck almost makes it to the pros) and continues with his transformation into hip hop artist Buck 65. Along the way, Buck develops into a hopeless romantic and an obsessively creative, shape-shifting man who both fears life and dives into it with abandon. Wicked and Weird is a lively, sometimes shocking portrait of a life lived on the edge, by turns funny and heartbreaking.

    But what if you want a delightfully quick, witty, and readable reference that, in one compact volume, places the document and its clauses into context? You're out of luck--until now. Written by Seth Lipsky, described in the Boston Globe as "a legendary figure in contemporary journalism," The Citizen's Constitution draws on the writings of the Founders, case law from our greatest judges, and current events in more than 300 illuminating annotations. Lipsky provides a no-nonsense, entertaining, and learned guide to the fundamental questions surrounding the document that governs how we govern our country. Every American should know the Constitution. Rarely has it glinted so brightly.

    Each work is accompanied by a detailed description to enhance the appreciation of the artist's creation.

    A gentleman can be recognized immediately from his confident appearance, his charm, and his carefully chosen clothes. Gentleman is the tried-and-tested guide on matters of style and quality.

    Originally headed by Walter Gropius, the Bauhaus counted among its members artists and architects such as Paul Klee, Lyonel Feininger, Wassily Kandinsky, Laszlo Moholy-Nagy, and Marcel Breuer. In 1930, Ludwig Mies van der Rohe took over as the leader, but soon after, in 1933, the Nazi government shut down the school. During its fourteen years of existence, Bauhaus managed to change the faces of art, architecture, and industrial design forever and is still hugely influential today. About the Series: Each book in TASCHEN s Basic Architecture Series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans) "

    Since then he has staged more than 250 shows internationally, many of them among the most influential exhibits of our age. Ways of Curating is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries and continents, flitting from meetings with the artists who have inspired him (including Gerhard Richter, Louise Bourgeois, and Gilbert and George) to biographies of influential figures such as Diaghilev and Walter Hopps. It describes some of the greatest exhibitions in history, as well as some of the greatest exhibitions never realized. It traces the evolution of the collections from Athanasius Kircher's 17th-century Wunderkammer to modern museums, and points the way for projects yet to come. Hans Ulrich Obrist has rescued the word "curate" from wine stores and playlists to remind us of the power inherent in looking at art—and at the world—in a new way.