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Ferrarin A: A World Not of this World

A World Not of this World

The Reality of Images and Imagination

Object Lessons

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.

Our ability to make a fist is what distinguishes humans from every other species, including primates. The fist played a crucial role in the birth of language and appears in nearly every form of nonverbal communication, particularly haptics and kinesiology. We use our fist to protest oppression, give pleasure, knock on doors, give daps, and (inaccurately) measure our hearts-yet we see them as a sign of someone on the edge. 

This book asks what happens when we lean over the edge of what a fist can do and symbolize. Fist uses historical moments and artifacts, primary interviews, and personal narratives to explore the fist's polysemous and divisive nature. Fist examines knuckle tattoos, the Black Power salute, Obama's fist bumps, the Fig, and fisting, the last sexual taboo. Fist uncovers what flexing our knuckles says, not just about us, but the world in which we live.

Object Lessons is published in partnership with an essay series in The Atlantic.

Fist

Who We Become When Life Makes Other Plans

The Other Side of Change

Beyond the Computer Metaphor of Mind and Brain

Film Thinks

The Good Egalitarian, the Bad Feminist and the Ugly Other

Judith Butler and Film

How Homo sapiens Came to Dominate the Planet

The Powerful Primate

Metaphysics and the Search for Real Life

The Psychedelics Manual

Bollingen Recollections

Bollingen Series

The Collected Essays of Erich Neumann, Volume 1

Art and the Creative Unconscious

Awareness of Suffering

Oxford Handbooks

The Oxford Handbook of Iconicity in Language

Posthumanism in Practice

A Posthumanist Approach to Architectural Encounter

Xenoaesthetics

Aesthetics and Contemporary Art

James Hyde, a practicing painter, boldly revises the concept of space in the European history of art. He presents it as a concept bound to historical circumstance, developing -sometimes contentiously-in philosophy, mathematics and science, and finally emerging in 20th century theorizations of art. Using primary documents, Hyde exposes what many will find surprising-that space only becomes part of the descriptive and analytic apparatus of art and architecture at the turn of the 20th century, not earlier. Hyde examines narratives that have shaped our understanding of the history of art and their explanatory efficacy in the context of the transformations of 13th and 15th century Italian art. He offers insights into the relationship between painting, architecture, icons and narrative pictures, the effects of St. Francis's miracles on painting and the essential diagrammatical nature of Renaissance perspective. The arrival of space into discussions about art introduces Kant, Leibniz, Apollonaire and Adolf von Hildebrand into the story. Hyde considers how and why artists and historians appropriated space at the end of the 19th century, as well as how space moved from the discourse of Neoclassical sculpture and Cubism to its prominence in discussions of art today. Hyde's original reading of the definition of space and the cultural forces that shaped it provides a re-envisioning of the foundations of art history and the philosophy of art.

A Critical History

The Trouble with Space in Painting

The Extraordinary Implications of Charles Darwin’s Strangest Idea

Birds, Sex and Beauty

A World Not of this World

Informations bibliographiques

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Informations bibliographiques

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