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Eggelhöfer F: Anni Albers

Anni Albers

Constructing Textiles

"Jodie Marley’s William Blake’s Mysticism takes us on an exuberant journey of spiritualities, ranging from Dorothy Gott, the prophetic writer he encountered in 1789, to “Fiona Macleod,” the visionary identity of W.B. Yeats’s friend, William Sharp". — David Worrall, Nottingham Trent University, UK.
This book examines William Blake as a ‘mystic’ and the movements and authors that contributed to this definition during and after his lifetime, with a particular focus on his influence on late nineteenth- and early twentieth-century Celtic Modernist writers. The author W. B. Yeats was one of the first to present this view of Blake in depth, although his concept of the mystic prioritised the lone male practitioner and the occult. This study argues that the mystic and the esoteric in a community context impacted both Blake’s, and Yeats’, critical and cultural reception. It also offers the first extended literary examination of the Romantic prophet Dorothy Gott’s work alongside Blake’s, and the first analysis of Blake’s influence on Celtic Modernist writers George Russell and Fiona Macleod. This book will be of interest to scholars interested in representations of gender and spirituality in Romantic and Modernist literature and art, and in authors so far neglected in Blake studies.
Jodie Marley is a researcher and writer whose work focuses on Romanticism, reception, mysticism, and gender. Her research bridges the Romantic and Modernist periods, with a particular focus on Irish Modernism. She is a 2025 visiting research fellow at the University of Glasgow’s Archives and Special Collections and won a British Association for Romantic Studies (BARS) Stephen Copley Award to fund her research in December 2024. She received her Ph.D. from the University of Nottingham in 2023.
She has forthcoming book chapters in The Routledge Companion to William Blake&nbsp;(ed. Freeman) and&nbsp;Seán O’Casey in Context&nbsp;(ed. Moran). She has previously been published in&nbsp;the Bulletin of the John Rylands Library,&nbsp;VALA, and&nbsp;Good Horoscope. Two of her talks for the Global Blake initiative are publicly available. In 2019 she co-curated the Romantic Facts and Fantasies exhibition at Lakeside Arts, Nottingham, and helped organise the 2019 BARS conference.

This book examines William Blake as a ‘mystic’ and the movements and authors that contributed to this definition during and after his lifetime, with a particular focus on his influence on late nineteenth- and early twentieth-century Celtic Modernist writers. The author W. B. Yeats was one of the first to present this view of Blake in depth, although his concept of the mystic prioritised the lone male practitioner and the occult. This study argues that the mystic and the esoteric in a community context impacted both Blake’s, and Yeats’, critical and cultural reception. It also offers the first extended literary examination of the Romantic prophet Dorothy Gott’s work alongside Blake’s, and the first analysis of Blake’s influence on Celtic Modernist writers George Russell and Fiona Macleod. This book will be of interest to scholars interested in representations of gender and spirituality in Romantic and Modernist literature and art, and in authors so far neglected in Blake studies.

The Legacy of Prophetic Women

William Blake’s Mysticism

A Cultural History of Computer Graphics presents a fundamentally new approach to analyzing digital images aesthetically through the example of 3D computer graphics (CG). While numerous methods for creating digital imagery have long existed, the advent of AI-generated content is causing a rise in debates and conflict. It is becoming increasingly difficult to differentiate digital photographs, CG, and AI images, and yet, because these types of images carry different cultural or even political implications, it is becoming increasingly important to do so. In response to the need of new methods to culturally decode digital imagery, this book starts from the production process and describes computer graphics as an independent method of expression, containing a specific ideological concept of realism. Through this study, it becomes clear that a particular understanding of the world is inscribed in computer graphics software development and consequently the image creation process, and it becomes necessary to perceive production aesthetically, hence there is a focus on production aesthetics. In its own unique way, every digital imaging method embodies its own sense of the world. This book will be of great interest to researchers of computer graphics, 3D image generation, and the cultural history of computer-generated imagery.

A Cultural History of Computer Graphics

Biotechne: Interthinking Art, Science and Design

From the British Bauhaus to Cybernetics

Organic Modernism

Icons of Style

The story of a fashion legend

Icons of Style: Billie Eilish

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

Vilém Flusser’s Radical Prescience

The Society of the Screen

An examination of how comics represent, confront, and sometimes perpetuate gendered violence. Lee Okan argues that comics, with their hybrid form of image and text, possess an ability to express the unspeakable dimensions of trauma while also raising ethical questions about spectatorship, representation, and storytelling. Through close analysis of contemporary and independent comics, as well as anthology collections, this book shows how artists navigate the tension between testimony and spectacle, visibility and exploitation. Rather than treating comics as an isolated medium, Okan situates these works within broader cultural and media discourses on sexual violence, arguing that comics shape and are shaped by feminist activism, visual culture, and reader response. Sexual Violence in Comics traces how creators reframe the terms of witness, challenge dominant narratives, and reclaim narrative authority, particularly in the wake of the #MeToo movement and beyond.

The Ethics of Visualizing Trauma

Sexual Violence in Comics

Political Struggle and Activist Art in the Uk, 1960-Present

Grassroots Artmaking

Interior Design as Lifestyle in the 1970s Home

In Private

Then And Now

Texas Then and Now features the most prominent locations from around the state, comparing vintage photographs with modern views of the same scenes today.

Texas Then and Now

Fashion Auteurs

Explores how Ray Petri and the Buffalo collective revolutionized fashion photography in the 1980s by blending subcultural style, radical diversity, and gender politics to create a new cultural template still influential today

Scottish-born, visionary stylist Ray Petri (1948-1989) defined the look and feel of radical 1980s magazines such as The Face, i-D, and Arena. Founder of the maverick Buffalo collective, Petri styled kilts with MA-1 flight jackets and Armani suits with Dr. Martens boots to create genre-defying looks that shook up London's subcultural scene from grassroots to high fashion. Harnessing the power of street style, sportswear, club culture, new wave, and dandyism, Petri's vision took the sartorial vocabulary of the perpetually displaced into the mainstream. His radical casting of Black and multiracial models, styling of men in skirts, and women cast as men was a retort to the prevailing aesthetic in contemporary fashion. Moreover, it marked a culturally reflexive, implicitly political approach to the relationship between fashion and identity. Challenging the policing of masculinity and sexuality in particular, Petri's imagery boldly toyed with the iconography of homoeroticism, employing the language of fashion in the activism for gay liberation against the backdrop of the AIDS crisis. The eclectic Buffalo circle included fellow stylist Mitzi Lorenz; photographers Jamie Morgan, Mark Lebon and Jean-Baptiste Mondino; model-muses Nick and Barry Kamen and a young Naomi Campbell; and musicians such as Neneh Cherry. Shaped by Petri, the Buffalo attitude is intrinsic to style culture today having since inspired legions of photographers, stylists, and designers from Kim Jones to Ibrahim Kamara, Martine Rose, and Grace Wales Bonner. The spirit of Buffalo lives on in the countercultural references, cultural diversity, and post-gender conversation that underlies the most powerful of contemporary fashion imagery. This book traces how Ray Petri and Buffalo created the template for modern fashion photography by advocating not simply for a new aesthetic but for a new cultural order.

Ray Petri

A Natural History of the Studio

Anni Albers

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