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Gesamtkatalog

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Colour in art - as in life - is both inspiring and uplifting, but where does it come from?

Ball Philip: Bright Earth / B

Bright Earth

The Invention of Colour

Scientia Graeco-Arabica

Suhrawardī’s Critique of Aristotelian Categories and Hylomorphism

Avicenna Illuminated

Luftgummireifen sind allgegenwärtig, doch welche Rolle spielte Kautschuk in der Medizin und bei der Körperpflege? Als elastisches und undurchlässiges Material wurde Kautschuk durch die Entdeckung der Vulkanisation in den 1830er Jahren für medizinische und hygienische Anwendungen interessant. Samuel Eleazar Wendt beleuchtet die Aneignung dieses ursprünglich in Mittelamerika und am Amazonas genutzten Rohstoffs in Europa, wo er seit dem späten 18. Jahrhundert zunehmend in körperliche Praktiken integriert wurde. Dabei fokussiert er sich auf die Geschichte des Berliner Unternehmens C. Müller Gummiwaren AG (1875-1948), das entsprechende Artikel erstmals für den Massenmarkt produzierte.

Die C. Müller Gummiwaren AG und der Beginn des Massenmarkts, 1875-1948

Körper, Kautschuk, Kolonien

'This groundbreaking volume critically engages with debates on art and displacement, while also advancing vital reflections on ethical practices in museums working with artists of refugee backgrounds - offering rich insights for scholars and students in the intersecting fields of cultural history, art history, and curatorial studies.' --Professor Anne Ring Petersen, University of Copenhagen With the rise of humanitarianism and international refugee laws in the 20th century, visual representations of refugees and their forced displacement permeated the cultural sphere. Understanding displacement aesthetics offers a groundbreaking analysis of the role of visual culture, art and art museums in shaping ideas about people forced to flee. The book identifies the refugee as a cultural figure, analysing the longer history of visual motifs and tropes and their ongoing presence in the contemporary world. Highlighting displaced artists in contemporary contexts, the book explores the barriers they face and their aesthetic outcomes. Language, identity and labour are identified as critical factors informing how art is made, curated, collected and understood by the public. Advancing the new concept of 'displacement aesthetics' - the negotiation of representation, lived experience and institutions - the interdisciplinary research underpinning this book provides a major intervention into the fields of cultural history, art history, and museum studies. Combining archival research, analysis of art, and curatorial research with artists and museums, Understanding displacement aesthetics presents new insights into the role of art and culture in mediating this pressing social and political issue in the 20th and 21st centuries.

History, Art and Museums

Understanding Displacement Aesthetics

Wendepunkte in der Analogen und Digitalen Welt

Material Culture of Art and Design

Displaying Art and Society in Late Georgian London

The Gallery at Cleveland House

The Untold Story of Intoxicants and the Biological Subject in Nineteenth-Century Germany

Intoxicated Ways of Knowing

The History and Persistence of Our Deadliest Infection

Everything Is Tuberculosis

Film and the American Imagination

Technothriller

Bloomsbury Studies in Digital Cultures

In 1945, W. Averell Harriman, US Ambassador to the Soviet Union, was presented with a carved wooden plaque of the Great Seal of the United States as a 'gesture of friendship' by a delegation from the Soviet's Young Pioneer Organization. Unbeknownst to him, one of the first covert listening devices, invented by Leon Theremin was hidden within it and was subsequently used to listen in on the ambassador's conversations for six years before being discovered. This book uses remarkable tales like this to tell the story of how modern audio surveillance developed and its important role in the evolution of today's artificial intelligence. Beginning with post-WW2 monitoring devices, Listening In traces an arc through the Cold War era into the present day in which state and commercial spyware can record our calls, copy messages and secretly film us. It subsequently moves into the near future where AI-assisted technologies can listen to things we have not yet said as well as digitally simulate and record our voices after we have died. Exploring how mass audio surveillance is carried out through devices such as smart phones, speakers and baby monitors and used to inform and train AI algorithms, the book provides fresh insights into how we are allowing our personal privacies to be traded for enhanced social connectivity and technological convenience. Ultimately Listening In reveals how the urge to listen and record everything that has ever been uttered is scored deeply into the technological operating systems of cultures from around the world.

How Audio Surveillance Became Artificial Intelligence

Listening In

How artists of interwar Paris created an "art of living," treating their daily lives as an aesthetic, ethical, and creative practice. With The Art of Living in Avant-Garde Paris, Rachel Silveri takes a fresh look at the desire to unify art and life, an ambition long regarded as foundational to the European historical avant-gardes. She reveals how many early twentieth-century artists saw their own everyday lives--their bodies, identities, and relationships--as a type of creative material and a central component to their avant-garde practice. These artists abandoned traditional forms of artmaking and venues of art viewing, instead aspiring to integrate art with everyday life, creating an "art of living." Considering Tristan Tzara's performances of Dadaist identity, Sonia Delaunay's simultaneous fashions and self-branding, and the collective endeavor to open and operate the Surrealist Research Bureau, Silveri offers a new narrative about how the artists of interwar Paris developed experiential life practices that resisted dominant forms of "lifestyle" and normative discourses surrounding gender, ethnicity, and office work. This book argues that ethical questions of "How should I live?" and "How should I relate to others?" were as important to the avant-garde as politics, and that aspirations to change the world played out in daily practices of self-making.

Ethics and Self-Making in Dada, Simultanism, and Surrealism

The Art of Living in Avant-Garde Paris

The Politics of Expertise and the Novosibirsk Scientific Center

Soviet Sci_beria

"Considers the enduring legacy of California Conceptualism, known for its lax approaches to creating, writing about, and exhibiting art. Moving away from making objects, and turning instead to staging scenes, the artists associated with California Conceptualism-including Eleanor Antin, John Baldessari, David Lamelas, Tony Ramos, Ilene Segalove, and William Wegman-behaved indifferently toward their art, denied making it and knowing what it was about, and displayed a lack of concern for its future. Their casual attitude and aesthetic transformed relationships between artists, critics, and viewers, separating those who could recognize these practices from those who could not. Contemporary artists have continued this trajectory, finding new ways to act casually through their "stance." In the humanities, this term is often taken to mean the beliefs, values, and intentions of authors, and it has offered a useful way to think about how artists position themselves toward their work and audiences. Jacob Stewart-Halevy builds on recent social theory to show how artists, critics, and other members of the art world wield stance to make sense of artworks and their social circumstances, arguing that, through the rise of conceptual art, stance has come to supplement-and in some cases replace-the aesthetic quality of artworks"--

Downplaying Art Since California Conceptualism

The Casual

Bright Earth

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