• Frontmatter
• Contents
• Foreword
• Introduction
• Part 1. Theories on Digital Synesthesia
• Syn-Aesthetics of Digital Art
• Synesthesia: Perception, Language, Digital Art
• A Philosophical Perspective on Unified Conscious Experience in Synesthesia: Insights from Philosophy of Perception and Aesthetics
• Ideasthesia and Art
• Transformation, Transliteration and Translation. Synesthesia and Multisensory Perception in Contemporary Visual Art
• Sensing Digital Art: Aesthetic Acts Beyond (the two) Synesthesia(s)
• Digital Synesthesia: Reminiscing about Science and Art
• The Incidental Synesthete
• The Interaction between Seeing and Moving: Eye Movements as a Window to the Mind?
• Digital Synesthesia
• Part 2. Artistic Research on Digital Synesthesia
• VERTICAL 2
• Space Time
• At Play
• Diver
• E.E.G. KISS
• The Flying Umbrella Project
• Bestiary for the Minds of the 21st Century: Genomic Opera
• Sound Calligraphy
• facades
• MotU #4-#6
• Topography of Movement
• IN_SIDE VIEW
• Transmission+Interference
• I am Sound
• Data Music
• Part 3. Digital Synesthesia Exhibition
• Angewandte Innovation Laboratory, Vienna, 2016
• Authors' Biographies
• Imprint.

Die Publikation versammelt die Ergebnisse des kunstlerischen Forschungsprojekts DIGITAL SYNESTHESIA (2013-2016) und stellt erstmals ein umfassendes Kompendium zum Begriff der "Digitalen Synasthesie" dar. "Digitale Synasthesie" umfasst ein voellig neues Konzept der digitalen Kunste im 21. Jahrhundert, das die multimediale, auf dem binaren Code basierende AEsthetik der digitalen Kunst mit der Multimodalitat von Synasthesie als Wahrnehmungsform verbindet. Unter dem Begriff "Digital Synesthesia" geben die Herausgeberinnen diesem neuen Phanomen nicht nur einen Namen. Texte renommierter Medien- und Kunsttheoretiker, Medienkunstler und Neurowissenschaftler vermitteln spannende Einsichten in die Erforschung der synasthetischen Wahrnehmungsmoeglichkeiten von multimedialen digitalen Kunstwerken.
(source: Nielsen Book Data)

• Frontmatter
• Contents
• Intro
• A Discussion
• Invasion
• Bloom
• Tour
• Technologies
• Interface
• Tablet
• Cosmic Cathedral
• Crystal Cathedral
• Crystal Healing
• Housing & Healing
• Travertin
• Sphere of Truth
• Aura
• Speicher
• Profile
• Palaces & Courts
• Shuttle
• Kokomo
• Discs
• Archetypen
• Trickster
• Faux Terrain
• Road Movie
• Palm Springs
• Candy House
• Fagiano & Facciata
• Drop
• Tartes
• The Arkadikon
• Selected Bibliography
• The Artists
• Photo Credits / Thanks to
• Imprint.

Hanakam & Schuller are tricksters. As artists and researchers, they remodel the rules of fine art, creating idiosyncratic orders and new world designs incorporated in videos and objects. The artefacts of the two artists from Vienna are "Gestalt-changers"; they change their outer shape and re-appear in a number of different contexts. The trickster art book illustrates the oeuvre and provides an insight into its making using multi-page photo spreads from video stills, and production photographs. The Arkadikon essay captures readers and leads them to contemporary hypothetical landscapes, deconstructing them as modern surrogates of an increasingly virtual world. The artists discuss ideal, pop, aura and abduction with Angela Stief, Anselm Franke, Uta Grosenick, Annette Hunnekens, Wolfgang Ullrich, Lois Weinberger, Stephanie Weber und Oliver Zybok.
(source: Nielsen Book Data)

• List of illustrations and tables List of acronyms List of characters
• 1. Introduction
• 2. Big Oil's artwash epidemic
• 3. Culture and Capital
• 4. Discrete logos, big spills
• 5. The impact of BP on Tate: an unhappy context for art
• 6. Opposition to oil sponsorship and interventions in gallery spaces
• 7. Conclusion Notes Index.
• (source: Nielsen Book Data)

*Shortlisted for the Bread and Roses Prize, 2016* *Shortlisted for the Green Carnation Prize, 2015* * Shortlisted for the Academy of British Cover Design Awards, 2015* Artwash is an intervention into the unsavoury role of the Big Oil company's sponsorship of the arts in Britain. Based on the high profile campaign 'Liberate Tate', Mel Evans targets Chevron, ExxonMobil, BP and Shell's collaboration with institutions such as the Tate in an attempt to end the poisonous relationship forever. Based on years of undercover research, grassroots investigation and activism as well as performance and cultural interventions, Mel Evans draws together the story of the campaign and its journey which has gone from strength to strength. Artwash shows how corporate sponsorship of the arts erases unsightly environmental destruction and obscures the strategies of oil company PR executives who rely on cultural philanthropy. The conclusion sounds a note of hope: major institutions (such as the Southbank Centre) have already agreed to cut sponsorship, and tribunals are happening which are taking these relationships to task. Artists and employees are developing new methods of work which publicly confront the oil companies. Like the anti-tobacco campaign before it, this will be an important cultural and political turn for years to come.
(source: Nielsen Book Data)

• Do you believe in users?/Turing complete user / Olia Lialina and Dragan Espenschied
• coming soon: ebay paypal blogs the internet / Cory Arcangel
• Doing assembly : the art of Cory Arcangel / Tina Kukielski
• Dispersion / Seth Price
• Two statements on Carnivore / Alexander R. Galloway
• Digressions from the memory of a minor encounter / Raqs Media Collective
• The different worlds of Cao Fei / Alice Ming Wai Jim
• Net aesthetics 2.0 conversation, New York City, 2006: Part 1 of 3 / Cory Arcangel, Michael Bell-Smith, Michael Connor, Caitlin Jones, Marisa Olson, and Wolfgang Staehle, with Lauren Cornell, Moderator
• Aleksandra Domanović and Oliver Laric in conversation with Caitlin Jones
• A brief history of And/Or Gallery / Paul Slocum
• Internet explorers / Ceci Moss
• Lost not found : the circulation of images in digital visual culture / Marisa Olson
• "We did it ourselves!" aka "My favorites": volume 1, 2005 to 2009 / Guthrie Lonergan
• Excerpts from Post internet / Gene McHugh
• In the long tail / Mark Leckey
• Everybody's autobiography / Alex Kitnick
• A theorem / Paul Chan
• The centaur and the hummingbird / Ed Halter
• The visibility wars / Rebecca Solnit
• Trevor Paglen in conversation with Lauren Cornell
• What to do with pictures / David Joselit
• Net aesthetics 2.0 conversation, New York City, 2008: Part 2 of 3 / Petra Cortright, Jennifer McCoy, Kevin McCoy, Tom Moody, Tim Whidden, and Damon Zucconi, with Ed Halter, Moderator
• Citizens reporting and the fabrication of collective memory / Jens Maier-Rothe, Dina Kafafi, and Azin Feizabadi
• International art English / Alix Rule and David Levine
• Chronicle of a traveling theory / Alexander Provan
• Arcades, mall rats, and Tumblr thugs / Jesse Darling
• Next-level spam / John Kelsey
• Digital divide : contemporary art and new media / Claire Bishop
• Sweeping, dumb and aggressively ignorant!: revisiting 'Digital Divide' / Claire Bishop
• Art workers : between utopia and the archive / Boris Groys
• Black vernacular : reading new media / Martine Syms
• A selection from DISimages: new stock options / DIS Magazine
• Made of the same stuff : Ryan Trecartin's art of transformation / Michael Wang
• Post-Net aesthetics conversation, London, 2013: Part 3 of 3 / Josephine Berry Slater, Rózsa Farkas, Harm van den Dorpel, and Ben Vickers, with Karen Archey, Moderator
• Here I am : telepresent subjecthood in the work of Lotte Rose Kjaer Skau / Morgan Quaintance
• Internet state of mind : where can medium specificity be found in digital art? / Domenico Quaranta
• Too much world: is the Internet dead? / Hito Steyerl
• Bodies in space : identity, sexuality, and the abstraction of the digital and physical / Karen Archey.

Essays, discussions, and image portfolios map the evolution of art forms engaged with the Internet. Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium-with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies. Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as "postinternet." Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, and others. Mass Effect relaunches a publication series initiated by the MIT Press and the New Museum in 1984, which produced six defining volumes for the field of contemporary art. These new volumes will build on this historic partnership and reinvigorate the conversation around contemporary culture once again. Copublished with the New Museum of Contemporary Art, New York Important Notice: The digital edition of this book is missing some of the images found in the physical edition. Contributors Cory Arcangel, Karen Archey, Michael Bell-Smith, Claire Bishop, Dora Budor, Johanna Burton, Paul Chan, Ian Cheng, Michael Connor, Lauren Cornell, Petra Cortright, Jesse Darling, Anne de Vries, DIS, Aleksandra Domanovic, Harm van den Dorpel, Dragan Espenschied, Rozsa Zita Farkas, Azin Feizabadi, Alexander R. Galloway, Boris Groys, Ed Halter, Alice Ming Wai Jim, Jogging, Caitlin Jones, David Joselit, Dina Kafafi, John Kelsey, Alex Kitnick, Tina Kukielski, Oliver Laric, Mark Leckey, David Levine, Olia Lialina, Guthrie Lonergan, Jordan Lord, Jens Maier-Rothe, Shawn Maximo, Jennifer McCoy, Kevin McCoy, Gene McHugh, Tom Moody, Ceci Moss, Katja Novitskova, Marisa Olson, Trevor Paglen, Seth Price, Alexander Provan, Morgan Quaintance, Domenico Quaranta, Raqs Media Collective, Alix Rule, Timur Si-Qin, Josephine Berry Slater, Paul Slocum, Rebecca Solnit, Wolfgang Staehle, Hito Steyerl, Martine Syms, Ben Vickers, Michael Wang, Tim Whidden, Anicka Yi, and Damon Zucconi.
(source: Nielsen Book Data)

• Preface Acknowledgments Introduction
• 1. "I'm Evolving!": Birds, Beasts, and Parodies
• 2. Confronting the Serious Side
• 3. "On the Contrary!": Ibsen's Evolutionary Vision
• 4. "Ugly... but Irresistible": Maternal Instinct on Stage
• 5. Edwardians and Eugenicists
• 6. Reproductive Issues
• 7. Midcentury American Engagements with Evolution
• 8. Beckett's "Old Muckball" Epilogue: Staging the Anthropocene Notes Index.
• (source: Nielsen Book Data)

Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and "missing link" performances, Theatre and Evolution from Ibsen to Beckett reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Darwin but also Lamarck, Chambers, Spencer, Wallace, Haeckel, de Vries, and other evolutionists on 150 years of theater. It shares significant new insights into the work of Ibsen, Shaw, Wilder, and Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the "cult of motherhood." It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries. Considering the liveliness and immediacy of the theater and its reliance on a diverse community of spectators and the power that entails, this book is a key text for grasping the extent of the public's adaptation to the new theory and the legacy of its representation on the perceived legitimacy (or illegitimacy) of scientific work.
(source: Nielsen Book Data)

• The city. "The pit of modern art" : practice and ambition in the London art world
• The urban ecology of art in Antebellum New York
• Urban convalescence in Lamb, Poe, and Baudelaire
• History. Sublime and fall : Benjamin West and the politics of the sublime in early nineteenth-century Marylebone
• Benjamin West's royal chapel at Windsor : who's in charge, the patron or the painter?
• The politics of style : Allston's and Martin's Belshazzars
• James Fenimore Cooper and American artists in Europe : art, religion, politics
• Landscape. John Martin, Thomas Cole, and deep time
• "Gorgeous, but altogether false" : Turner, Cole, and transatlantic ideas of decline
• Thomas Cole and transatlantic romanticism
• Race. Picturing the murder of Jane McCrea : a critical moment in transatlantic romanticism
• The romantic Indian commodified : text and image in George Catlin's Letters and notes (1841)
• Romantic racialism and the antislavery novels of Stowe, Hildreth, and Melville.

• TABLE OF CONTENTS; INTRODUCTION; WOMEN IN LITERATURE; PICTURES AT AN EXPOSITION; GONE WITH THE WIND?; DOS AND DON'TS FOR GROWING UPINMACHOLAND; TRUTH IN FICTION; WOMEN IN POETRY; FIRST LESSONS; JUMPING THE FENCE; ON THE SIDEWALK; CARIBEÑA; ONCE UPON A WOMAN; FOOTBALL AT ROOSEVELT HIGH; INVITATION TO MS. BRIGIT PEGEEN KELLY; THE TOOTH COLLECTOR; THIN PLACE; WOMEN IN MUSIC; I SHALL HOLD TO LIFE; BOULANGER AND TALMA, WOMEN WHO CHANGED THE TWENTIETHCENTURYAMERICAN MUSICAL LANDSCAPE; ROSEMARY NALDEN; REPRESENTATION OF ANCIENT GREEKAND BYZANTINE WOMEN THROUGH THE EYESOF CONTEMPORARY MALE CREATORS.

• INFLUENCES LEADINGTO INSTRUMENT SELECTIONWOMEN IN ART; THE ASTRONOMER'S DREAM; CELESTIAL SHADOW; OUT OF THE ASH; TILTED ORBIT; EPHEMERIS; NASCENT STARS; PHOTOGRAM; THE OMEN; POSING NUDE, PRODUCING AN OBJECT, PERFORMING A SUBJECT; WOMEN IN EDUCATION; ARTIST IDENTITY AND TEACHING PRACTICE; FOSTERING OLDER ADULTS' ENGAGEMENTIN THE COMMUNITY THROUGH LIFELONGMUSICMAKING EXPERIENCES; CONTRIBUTORS; BIBLIOGRAPHY.

Is there a need for books about women in the arts, exhibitions of women painters, readings of women's poetry, concerts of music by women composers, and conferences highlighting women in the arts? One might believe that, today, the playing field is level, but categories still place the word "woman" before the discipline: woman composer, woman poet, woman artist, and so on. The ultimate goal is to move the debate away from gender categories which reinforce the notion that men's creativity is not only the norm but better. There are many women challenging the status quo, and succeeding. Change comes slowly since many men and some women in positions of power do not see gender stereotyping as a problem. It's been nearly a millennium since Hildegard von Bingen composed music and illuminated manuscripts. Shouldn't the time when it was unusual to be a "woman composer" have past? As the great 20th century pedagogue and composer Nadia Boulanger said, "I've been a woman for a little over 50 years and have gotten over my initial astonishment. As for conducting an orchestra, that's a job where I don't think sex plays much part." Indeed, books like Women in the Arts: Eccentric Essays II serve to bring society just a little closer to equality by keeping the accomplishments of women at the forefront of consciousness. Technology today is a great asset in documenting the productivity of women, and all artistic creations can be codified and archived, in contrast to earlier times when creative women's birth and death dates are unknown, not even taking into account all their lost creations. The essays contained in Women in the Arts: Eccentric Essays II reflect the lives of creative artists, whether they are teachers, scholars and researchers recovering previous generations of women artists, or practicing artists creating new masterpieces. The promotion of the roles of women in the arts is integral, so that they may serve as a resource for future generations of students, scholars and researchers, and to enhance generations to come, enriching culture through the arts.
(source: Nielsen Book Data)

• List of Figures Series Preface Preface Acknowledgements Introduction: Lessons in Failure Excursus I: The Society of the Spectacle Excursus II: The Constructed Situation Reconstructing Situations
• 1. Surviving History: A Situationist Archive
• 2. Industrial Painting: Towards a Surplus of Life
• 3. Destruktion af RSG-6: The Latest Avant-Garde
• 4. Consuming the Spectacle: The Watts Riot and a New Proletariat
• 5. Situationist Radical Subjectivity and Photo-Graffiti
• 6. The Situation of Women Coda: Learning from the SI Notes Index.
• (source: Nielsen Book Data)

The Situationist International were a group of anti-authoritarian, highly cultured, revolutionary artists whose energy and enragement fundamentally shaped the revolutions of the late 1960's, most famously in Paris in May '68. They took on their shoulders the history of the workers' struggle, saw that it had been corrupted by authoritarianism and transformed it, with influences incorporating the avant-garde via Dada and Surrealism. They were not Marxologists, defenders of the faith. Marxism came back to life in their raging analyses, the use of the 'spectacle' and at the heart of the project was the idea of the constructed situation. This book by Frances Stracey offers itself up as the 'first historiography of constructed situations'. Within it are new insights into the movement, and with them, a sense of relevance to political situations and practice today. As an archivist, Stracey uncovered new documents which, amongst other things, revealed how the SI related to representations of sexuality; and is able to discuss whether they could be considered as feminists or not. She also looked at their famous motto 'Never Work' and again shows how alienated labour is even more relevant to us today. Constructed Situations is not a history of celebrated personalities, or cultural influences, or political circumstances. It is instead an open door to one of the most influential art movements in modern history, and an invitation for us to reclaim inspiration from this ubiquitous movement.
(source: Nielsen Book Data)

• Contents: Foreword, Barbara London. Part I Documentation, Archive, Collection, Conservation: Introduction, Beryl Graham-- Modes of collection, Beryl Graham-- Collecting new-media art: just like anything else, only different, Steve Dietz-- Old media, new media? Significant difference and the conservation of software-based art, Pip Laurenson. Part II Producing, Collecting, Exhibiting: Self-collection, self-exhibition? Rhizome and the new museum, Heather Corcoran and Beryl Graham-- From exhibition to collection: Harris Museum and Art Gallery, Preston, Lindsay Taylor-- The museum as producer: processing art and performing a collection, Rudolf Frieling-- Objects, intent and authenticity: producing, selling and conserving media art, Caitlin Jones. Part III Audiences, Collections, Exhibitions: Curating emerging art and design at the Victoria and Albert Museum, Louise Shannon-- Collecting experience: the multiple incarnations of Very Nervous System, Lizzie Muller-- Murky categorization and bearing witness: the varied processes of the historicization of new media art, Sarah Cook. Index.
• (source: Nielsen Book Data)

The collections of museums, galleries and online art organisations are increasingly broadening to include more new media art. Because new media is used as a means of documenting, archiving and distributing art, and because new media art might be interactive with its audiences, this highlights the new kinds of relationships that might occur between audiences as viewers, participants, selectors, taggers or taxonomisers. New media art presents many challenges to the curator and collector, but there is very little published analytical material available to help meet those challenges. This book fills that gap. Drawing from the editor's extensive research and the authors' expertise in the field, the book provides clear navigation through a disparate arena. The authors offer examples from a wide geographical reach, including the UK, North America and Asia and integrate the consideration of audience response into all aspects of their work. The book will be essential reading for those studying or practicing in new media, curating or museums and galleries.
(source: Nielsen Book Data)

Arts education provides students with opportunities to build knowledge and skills in self-expression, imagination, creative and collaborative problem solving, and creation of shared meanings. Engagement in arts education has also been said to positively affect overall academic achievement and the development of empathy. This book provides key insights from stakeholders across the teaching and learning spectrum and offers examples of pedagogical practice to those interested in facilitating arts education.
(source: Nielsen Book Data)

• Foreword; Acknowledgments; Allied Arts of Seattle Timeline; Introduction;
• Chapter 1 / Alice Rooney;
• Chapter 2 / Pike Place Market, One of the Great Civic Battles That Helped Shape Seattle;
• Chapter 3 / Victor Steinbrueck;
• Chapter 4 / Seattle's Engagement with Historic Preservation;
• Chapter 5 / Betty Bowen;
• Chapter 6 / Preserving Pioneer Square;
• Chapter 7 / Fred Bassetti;
• Chapter 8 / Marching to the World's Fair and Seattle Center;
• Chapter 9 / Robert Jackson Block;
• Chapter 10 / Creating Stable Arts Organizations;
• Chapter 11 / Peggy Golberg.

• Chapter 12 / Festivals, Publications, Exhibitions, Concerts, and a Miscellany of Projects
• Chapter 13 / Paul E.S. Schell;
• Chapter 14 / Art Funded by the Public Purse;
• Chapter 15 / Jerry Thonn;
• Chapter 16 / Fighting to Regulate Billboards;
• Chapter 17 / Mary B. Coney;
• Chapter 18 / The Campaign to Bury Utility Wires;
• Chapter 19 / Llewelyn G. Pritchard;
• Chapter 20 / Allied Arts' Embrace of the Urban Environment;
• Chapter 21 / Margaret Pageler; Epilogue; Patrons; Selected Bibliography; Index.

In the 1950s, the city of Seattle began a transformation from an insular, provincial outpost to a vibrant and cosmopolitan cultural center. As veteran Seattle journalist R. M. Campbell illustrates in Stirring Up Seattle: Allied Arts in the Civic Landscape, this transformation was catalyzed in part by the efforts of a group of civic arts boosters originally known as "The Beer and Culture Society." This "merry band" of lawyers, architects, writers, designers, and university professors, eventually known as Allied Arts of Seattle, lobbied for public funding for the arts, helped avert the demolition of Pike Place Market, and were involved in a wide range of crusades and campaigns in support of historic preservation, cultural institutions, and urban livability.
(source: Nielsen Book Data)

• Introduction[-][overview of the field. Analysis of other studies/works on this subject. Explanation of method. Definitions of occultism etc.][-]I. The time of slumbers [-][early 1920s. Spiritualism, mediumism, parapsychology. The "Sleeping Sessions". Breton: various essays][-]II. The period of reason[-][late 1920s. clairvoyance, seership. Rimbaudian alchemy. Breton: Nadja (1928)][-]III. The 'Golden Age'[-][the 1930s. The demand for "the occultation" (2nd Manifesto). Objective chance. Myth. Breton: Mad Love][-]IV. Intermezzo: Surrealism in arcanum: the war[-][1938-1945. SUR in the US. Christian heterodox throught. Myth and magic. Breton: Arcanum 17.][-]V. The international exposition of Surrealism, 1947[-][1947ff. The exhibition as display of SUR's occultation. Most occult period in SUR. Breton: L'Art Magique (1957). Alchemy. Petering out of SUR.][-]Conclusion [-].
• (source: Nielsen Book Data)

Surrealism - Andr Breton - occultism - esotericism - Modernism.
(source: Nielsen Book Data)

• ""DEDICATION""; ""TABLE OF CONTENTS""; ""LIST OF FIGURES""; ""ACKNOWLEDGEMENTS""; ""FOREWORD""; ""REFERENCES""; ""NOTE""; ""
• CHAPTER 1: POSITIONINGS, PLACEMENTS AND POSTULATIONS""; ""1.1 INTRODUCTION""; ""1.2 THE RESEARCH STUDY""; ""1.3 ANTONIN ARTAUD2""; ""1.4 CURRICULUM THEORY""; ""1.5 OVERVIEW""; ""INTERLUDE
• 1: INTRODUCTION""; ""CHARACTERS""; ""
• CHAPTER 2: A/R/TOGRAPHY AND THE RESEARCH PROJECT""; ""2.1 A/R/TOGRAPHY""; ""2.2 THE RESEARCH PROJECT""; ""INTERLUDE
• 2: THE MONOLOGUES""; ""
• CHAPTER 3: MOMENTS SUCH AS THESE""

• ""3.1 THEME
• 1: AFTER DECIDING TO PURSUE TEACHING PARTICIPANTS EXPERIENCED A PERIOD OF ADJUSTMENT""""3.2 THEME
• 2: FELT EXPERIENCES IN ACTOR TRAINING PROGRAMS TAUGHT PARTICIPANTS HOW TO TEACH DRAMA AND THEATRE""; ""3.3 THEME
• 3: CREATING ART HAS A POSITIVE INFLUENCE ON ONES TEACHING""; ""3.4 THEME
• 4: ACTING SCHOOL DEVELOPS AN AESTHETIC, NOETIC SENSIBILITY""; ""3.5 FINAL THOUGHTS""; ""INTERLUDE
• 3: BORDER THEORIES, LIMINAL SPACES AND BECOMING A CROSSROADS""; ""LIMINAL SPACES & IDENTITY""; ""BEING A CROSSROADS: AN AUTOBIOGRAPHICAL ACCOUNT""; ""CONNECTIONS AND RELATIONSHIPS""

• ""
• CHAPTER 4: UNDERSTANDINGS""""4.1 UNDERSTANDING
• 1: THERE IS A CONNECTION BETWEEN DEVELOPING CONSCIOUSNESS, CREATIVITY, AND THE IMAGINATION THROUGH ACTING EXER""; ""4.2 UNDERSTANDING
• 2: PARTICIPANTS NEEDED TO TALK ABOUT THE NOETIC MOMENTS THEY EXPERIENCED IN ACTING SCHOOL""; ""4.3 UNDERSTANDING
• 3: RESIDUE IS AN A/R/OGRAPHIC RENDERING USED TO DESCRIBE THE WAY THAT HAVING A NOETIC EXPERIENCE IN THEATRE SC""; ""4.4 UNDERSTANDING
• 4: THE CURRICULUM AS THEATRICAL ENGAGEMENT IS ILLUMINATING.""; ""INTERLUDE
• 4: LEARNING THE LANGUAGE OF THE HEART""; ""A peaceful reflective understanding""

• ""
• CHAPTER 5: CONSIDERING THE OPENINGS""""5.1 WHAT I HAVE LEARNED AND HOW THIS IMPACTS THEORY AND PRACTICE""; ""5.2 IMPLICATIONS, IMPACT AND FUTURE DIRECTIONS RELATED TO DRAMA, THEATRE AND ARTS BASED EDUCATION AND RESEARCH""; ""5.3 IMPACT, IMPLICATIONS AND FUTURE DIRECTIONS FOR TEACHER EDUCATION""; ""INTERLUDE
• 5: THE BEGINNING FROM THE END""; ""
• APPENDIX 1: THE MONOLOGUES""; ""THE MATH LESSON""; ""ON STAGE ON BOTH""; ""IF WE SHADOWS HAVE OFFENDED""; ""GALLOP APACE""; ""REFLECTIONS ON TEACHING""; ""TODAYâ€?S THE DAY""; ""REFERENCES""

This book examines the experiences of four Conservatory style trained actors, who go onto complete teacher education programs. In keeping with a/r/tography this research uses social science methods and creative methods of data collection. Interviews and reflective writing about the participant?s educational and experiential backgrounds are complimented by the writing of monologues. Themes from the data collected during interviews, reflective writing and monologues led to the understandings that: there is a connection between developing consciousness and having a noetic experience; actor-teachers want to talk about their noetic experiences; residue is an a/r/tographic rendering used to describe the way that having an illuminating experience in theatre school affected the participants; and an immanent curriculum can be understood by theatrical engagement. In addition to exploring the interview data and monologues, time is spent understanding the works of Antonin Artaud, a prolific theatre artist and a/r/tography, a method of arts-based research. This theoretical and a/r/tographical investigation leads to the creation of Interludes. These Interludes, theorized as rhizomatic curricular offshoots, allow for multiple entry points into these new understandings and provide an example of how to bring together artful inquiry into an academic arena. AWARDS: 2013 American Educational Research Association (AERA) Arts Based Educational Research (ABER) Dissertation Honorable Mention 2013 Canadian Society for the Study of Education (CATE) Canadian Association of Teacher Education (CATE) PhD Dissertation Award of Distinction Link to Info: https://www.mcgill.ca/dise/about/academicstaff/carter Dr. Mindy R. Carter is an Assistant Professor at McGill University in the Department of Integrated Studies in Education. She has taught a range of education courses specializing in arts education and curriculum theory. Her research focuses on a/r/tography, teacher identity, teacher education, arts based educational research and curriculum. Her publications have addressed knowledge mobilization, democracy and arts education, the impact of autobiographical and a/r/tographical dispositions on teacher candidates and the impact of creating art on teacher?s pedagogical development and identity. She is actively involved in local and international arts education organizations.

• Part one by Charles Jencks. The spirit of adhocism
• The pluralist universe, or pluriverse
• Mechanical, natural and critical evolution
• Consumer democracy
• Towards an articulate environment
• The ad hoc revolution
• Part two by Nathan Silver. Modes and resources of adhocism
• The adhocist sensibility
• Adhocism in the market and the city
• Appendix: miscellaneous adhockery.

The triumphant return of a book that gave us permission to throw out the rulebook, in activities ranging from play to architecture to revolution. When this book first appeared in 1972, it was part of the spirit that would define a new architecture and design era-a new way of thinking ready to move beyond the purist doctrines and formal models of modernism. Charles Jencks and Nathan Silver's book was a manifesto for a generation that took pleasure in doing things ad hoc, using materials at hand to solve real-world problems. The implications were subversive. Turned-off citizens of the 1970s immediately adopted the book as a DIY guide. The word "adhocism" entered the vocabulary, the concept of adhocism became part of the designer's toolkit, and Adhocism became a cult classic. Now Adhocism is available again, with new texts by Jencks and Silver reflecting on the past forty years of adhocism and new illustrations demonstrating adhocism's continuing relevance. Adhocism has always been around. (Think Robinson Crusoe, making a raft and then a shelter from the wreck of his ship.) As a design principle, adhocism starts with everyday improvisations: a bottle as a candleholder, a dictionary as a doorstop, a tractor seat on wheels as a dining room chair. But it is also an undeveloped force within the way we approach almost every activity, from play to architecture to city planning to political revolution. Engagingly written, filled with pictures and examples from areas as diverse as auto mechanics and biology, Adhocism urges us to pay less attention to the rulebook and more to the real principle of how we actually do things. It declares that problems are not necessarily solved in a genius's "eureka!" moment but by trial and error, adjustment and readjustment.
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• Hyperdialectic in Gertrude Stein's CompositionsConceptual Frames of Life; Passage du sujet dans la " matière mentale " surréaliste; List of Contributors; Index.

• Introduction; Matter on the Move; Translations; Modernism Diffracted; Picture Postcards from The Sturm Gallery and Walden. Collection in Berlin; André Breton's Autobiographical Cut-Ups; Collages, Photographs, and Cinema; Visual Music, a Missing Link?; From Abstract Film to Op Art and Kinetic Art?; Henryk Berlewi's Mechano-Facture as a Transmedial Adaptation of Viking Eggeling's Experimental Films; "hap-hap-hap-hap-happy clothes"; Avant-Garde Experiments in/with Material(s); The Poetic Materiality of Fascism on the British Stage; Dematerializing Verbal and Visual Matter.

• Wassily Kandinsky's BitextualityMaterial Memory; Beyond Matter or Form; Invalidating Subliminal Contradictions in the Aesthetics of Matter; Upon Hearing James Joyce; The Anna Livia Plurabelle Gramophone Disc (1929); Small Press Modernists; Collaboration, Experimentation and the Limited Edition Book; Plaster as a Matter of Memory; Auguste Rodin and George Segal; Deconstructive Readings of the Avant-Garde Tradition in Post-Socialist Retro-Avant-Garde Theatre; The Materiality of a Contemporary Avant-Garde?; Legacies of Surrealist Collage in Contemporary Art; Spaces and Places.

• Reproducing the Avant-GardeThe Art of Modernist Magazines; Bedeutungsveränderung und Kanonisierung des deutschen Expressionismus in den USA; Expressionism, Fiction and Intermediality in Nordic Modernism; Materiality and Dematerialization in Paul Neagu's Work; La maison d'artiste en portrait, manifeste et sanctuaire; L'exemple de Fernand Khnopff; Liquid Modernity and the Concrete City; Ford Madox Ford and Virginia Woolf; Bodies and Sensoria; To "Feel Breathing"; Duchamp and the Immaterial Aesthetics of Scent; Synthesis Instead of Analysis.

• Avant-Garde Eat Art and the Cultural Dimensions of TasteLygia Clark, the Paris Years; The Body as Medium and Material; Les matérialités à l'oeuvre dans la " poésie élémentaire " de Julien Blaine; Corps, que me veux-tu?; Embodiment and Visuality in Post-1950 Music; Subjectivities; M/Paternal Meanings in the Neo-Avant-Garde; Raoul Hausmann et le montage de matériau textuel : Hylé I; Georges Hugnet's Surrealist Monsters and Women; From Material Meaningless to Poetics of Potentiality; The Religious Dimension of Lettrist Visual Poetry; A "Dance of Gestures."

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries. The book's contributions, written by experts from some 20 countries, seek to answer the following questions: What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist "aesthetics of matter"? How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter? How were "immaterial" things such as concepts of time changed in this aesthetic moment? What "material meanings" were disseminated in the cultural transfer and translation of objects? How did subsequent avant-gardes deal with the "aesthetics of matter" in their response to historical predecessors?
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• Ch.
• 1: Introduction
• ch.
• 2: Impact of the Arab uprisings on artistic freedom: Egypt as a case study
• ch.
• 3: U.S. government efforts to support artists in the Arab World
• ch.
• 4: Nongovernmental efforts to engage and support artists in the Arab world
• ch.
• 5: Conclusion: new strategies for supporting regional artists.

• Cover; Title Page; Copyright; Preface; Contents; Summary; Acknowledgments; Abbreviations; Chapter One: Introduction; The Cultural Dimension During the Cold War; Recent Shifts in U.S. Middle East Policy; Organization of This Report; Chapter Two: Impact of the Arab Uprisings on Artistic Freedom: Egypt as a Case Study; Legal Framework for Censorship; Crowding Out Independent Voices; Self-Censorship and Economic Incentives; Early Signals from Egypt's New Authorities; Egypt's Artist Community; Portability of Egypt to Other Arab Countries; Conclusion.

• Chapter Three: U.S. Government Efforts to Support Artists in the Arab WorldCultural Diplomacy.; Direct Support to Arab Artists; U.S. Efforts to Highlight the Suppression of Artistic Freedom; Conclusion; Chapter Four: Nongovernmental Efforts to Engage and Support Artists in the Arab World; Programs to Cultivate Artistic Talent and Build Regional Skills; Mentor Programs and Artist Exchanges; Regional Film Schools, Training, and Film Festivals; Initiatives to Promote Arab Artists in the United States and Intercultural Understanding; Regionally Themed Filmmaking for Global Audiences.

• Private-Sector Models Designed to Help Fund Regional ArtistsOngoing Challenges to Regional Artists; Chapter Five: Conclusion: New Strategies for Supporting Regional Artists; Recommendations for U.S. Government Efforts; Recommendations for Nongovernmental Efforts; A New Model to Support the Arts in the Middle East: A "Regional Endowment for Arab Arts"?; Bibliography.

After decades of authoritarianism, a wave of political change and unrest began to sweep across the Middle East and North Africa in early 2011. Successful democratic transitions will not be easy and will require change in multiple spheres. This report focuses on one sphere whose power and importance is often underestimated: the artistic arena. Regional artists have the potential to positively contribute to democratic transition by shaping public debate in ways that support tolerance and nonviolence. But Arab artists are often squeezed between the bounds of acceptable discourse, set by rulers who fear freedom of expression and conservative societal groups that seek to control acceptable behavior. Although the Arab uprisings lifted some previous barriers to artistic expression, new limitations and challenges have emerged. Moreover, artists continue to lack sound funding models to support their work and face limited markets and distribution mechanisms. This research explores the challenges posed by both the state and society in the region, as well as the policy shifts that may be necessary to better support regional artists. It also suggests new strategies in which regional actors and nongovernmental organizations take leading roles in supporting these artists and their work.

• Mikhaïl Piotrovsky and the State Hermitage Museum / Sylvie Cameron and Laurent Lapierre
• The leadership style of Mira Trailović : an entrepreneurial spirit in a bureaucratic world / Milena Dragićević Šešić
• Vladimir Misharin : charisma and innovation in the modern Russian arts scene / Irina Khizhinskaya and Maria Naimark
• The Utah Shakespeare Festival : an evolving arts leadership partnership / William J. Byrnes
• Leadership in Australian arts companies : one size does not fit all / Kate MacNeill and Ann Tonks
• Strategic leadership in China's music industry : a case study of the Shanghai Audio Visual Press / John Fangjun Li and Guy Morrow
• Dual executive leadership in the arts : Rémi Brousseau, Pierre Rousseau and Le Théâtre Denise-Pelletier / Wendy Reid
• Leadership and change management : the case of the Norwegian National Museum of Art / Donatella de Paoli
• Cultural leadership and audience engagement : a case study of the Theatre Royal Stratford East / Hilary Glow
• Leadership and transformation at the Royal Shakespeare Company / Robert Hewison, John Holden and Samuel Jones
• Learning from creative work processes in the theatre : stepping into character / Helle Hedegaard Hein
• Co-leading the creative process through collaboration / Suyin Chew
• Thriving or surviving : artists as leaders of smaller arts organizations / Jo Caust
• The art of collaborative leadership in jazz bands.

Arts Leadership: International Case Studies is an edited collection of international case studies discussing approaches to arts leadership and management. Based on research by the different contributors, it can be used both as a critical text in arts management education as well as an academic reference. Each article focuses on different themes and uses different theoretical perspectives within leadership. Cases have been drawn from: the UK, Serbia, Canada, the US, Russia, Australia, Denmark, Singapore and Finland."There is a need to put arts leadership on the agenda because, in the process of changing times, there is a need for attracting and developing the right leaders as well as recognising the skills required for the field." Jo Caust.
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• Cover; Half Title; Title; Copyright; Table of Contents; Acknowledgements; Introduction: Theorizing Iconic Figures; PART I: Icons and the Struggle over Meaning;
• Chapter 1: 'Just Like You', But Not Like Us: Staging National Belonging, MultiracialFemininity, and Collective Memory in the American Girl Family;
• Chapter 2: Behind the Brown Mask: Joe Louis' Face and the Construction of Racial Mythologies;
• Chapter 3: LeBron James and the Web of Discourse: Iconic Sports Figures andSemantic Struggles; PART II: Appropriating Iconic Figures;
• Chapter 4: O Superman: The Many Faces of the Man of Steel.

• Chapter 5: Thirty Are Better Than One: Marilyn Monroe and the Performance of Americanness
• Chapter 6: Queering Cowboys, Queering Futurity: The Re/Construction of American Cowboy Masculinity;
• Chapter 7: Iconizing Radical Change: How Gary Cooper Led Poland to Freedom; PART III: The Mutability and Abstraction of Iconic Figures;
• Chapter 8: The Embodiment of a Nation: The Iconicity of Uncle Sam and the Construction of a Conflicted National Identity;
• Chapter 9: Lois Lane: The Making of a Girl Reporter.

• Chapter 10: War in Four Colors: The Battle between Superman and Captain America for America's Hearts and Minds during World War II
• Chapter 11: Myth and Materiality: The Duality of Grace Kelly;
• Chapter 12: 'Its Own Special Attraction': Meditations on Martyrdom and the Iconicity of Civil Rights Widows; Contributors; Index; Back Cover.

Elvis Presley. Marilyn Monroe. LeBron James. They're all American, of course, but like many cultural figures who hail from the United States, they have names and faces known the world over. With contributions from a diverse group of international scholars, "ConFiguring America" sheds light on how these figures, and their media representations, construct America's image beyond its borders. Essays also parse the distinction between celebrities and icons, showing that although these categories overlap and share many common traits, they differ in important ways.
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• Foreword / Rocco Landesman
• Acknowledgments
• 1. Introduction / Michael Rushton
• 2. Causal agents or canaries in the coal mine? : art galleries and neighborhood change / Jenny Schuetz
• 3. The arts, consumption, and innovation in regional development / Ann Markusen, Anne Gadwa Nicodemus, and Elisa Barbour
• 4. A case study in cultural economic development : the Adams Arts Program in Massachusetts / Richard G. Maloney and Gregory H. Wassall
• 5. Do cultural tax districts buttress revenue growth for arts organizations? / Lauren Schmitz
• 6. Arts, crafts, and STEM innovation : a network approach to understanding the creative knowledge economy / Robert Root-Bernstein ... et al.
• 7. Arts districts, universities, and the rise of media arts / Douglas S. Noonan and Shiri M. Breznitz
• 8. Cultural enterprise formation and cultural participation in America's counties / Roland J. Kushner
• 9. The economic consequences of cultural spending / Peter Pedroni and Stephen Sheppard
• 10. Capital or culture? : an econometric analysis of the relationship between arts and cultural clusters, wages, and the creative economy in English cities / Hasan Bakhski, Neil Lee, and Juan Mateos-Garcia
• Contributors
• Index.

Urban and regional planners, elected officials, and other decisionmakers are increasingly focused on what makes places livable. Access to the arts inevitably appears high on that list, but knowledge about how culture and the arts can act as a tool of economic development is sadly lacking. This important sector must be considered not only as a source of amenities or pleasant diversions, but also as a wholly integrated part of local economies. Employing original data produced through both quantitative and qualitative research, Creative Communities provides a greater understanding of how art works as an engine for transforming communities. "Without good data and analysis - much of it grounded in economic theory - we cannot hope to strengthen communities through the arts or to achieve any of the other goals we set for the National Endowment for the Arts, the largest nationwide funder of the arts." - from the Foreword by Rocco Landesman. Contributors: Hasan Bakhshi (Nesta UK), Elisa Barbour (University of California, Berkeley, USA), Shiri M. Breznitz (Georgia Institute of Technology), Roland J. Kushner (Muhlenberg College), Rex LaMore (Michigan State University, USA), James Lawton (Michigan State, USA), Neil Lee (Nesta UK), Richard G. Maloney (Boston University, USA), Ann Markusen (University of Minnesota, USA), Juan Mateos-Garcia (Nesta UK), Anne Gadwa Nicodemus (Metris Arts Consulting), Douglas S. Noonan (Indiana University-Purdue University Indianapolis, USA), Peter Pedroni (Williams College), Amber Peruski (Michigan State, USA), Michele Root-Bernstein (Michigan State, USA), Robert Root-Bernstein (Michigan State, USA), Eileen Roraback (Michigan State, USA), Michael Rushton (Indiana University, USA), Lauren Schmitz (New School for Social Research), Jenny Schuetz (University of Southern California, USA), John Schweitzer (Michigan State, USA), Stephen Sheppard (Williams College), Megan VanDyke (Michigan State, USA), Gregory H. Wassall (Northeastern University, USA).
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• List of Illustrations Acknowledgments Introduction
• 1. Thomas Watson: Natural Radio, Natural Theology
• 2. Microphonic Imagination
• 3. The Aeolian and Henry David Thoreau's Sphere Music
• 4. The Aelectrosonic and Energetic Environments
• 5. Inductive Radio and Whistling Currents
• 6. Alvin Lucier: Brainwaves
• 7. Edmond Dewan and Cybernetic Hi-Fi
• 8. Alvin Lucier: Whistlers
• 9. From Brainwaves to Outer Space: John Cage and Karl Jansky
• 10. For More New Signals
• 11. Sound of the Underground: Earthquakes, Nuclear Weaponry, and Music
• 12. Long Sounds and Transperception
• 13. Pauline Oliveros: Sonosphere
• 14. Thomas Ashcraft: Electroreceptor
• 15. Black Sun, Black Rain
• 16. Star-Studded Cinema
• 17. Robert Barry: Conceptualism and Energy
• 18. Collaborating Objects Radiating Environments
• 19. Joyce Hinterding: Drawing Energy
• 20. Earth-in-Circuit Notes Index.
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Earth Sound Earth Signal is a study of energies in aesthetics and the arts, from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Douglas Kahn begins by evoking the Aeolian sphere music that Henry David Thoreau heard blowing along telegraph lines and the Aelectrosonic sounds of natural radio that Thomas Watson heard through the first telephone; he then traces the histories of science, media, music, and the arts to the 1960s and beyond. Earth Sound Earth Signal rethinks energy at a global scale, from brainwaves to outer space, through detailed discussions of musicians, artists and scientists such as Alvin Lucier, Edmond Dewan, Pauline Oliveros, John Cage, James Turrell, Robert Barry, Joyce Hinterding, and many others.
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• Aesthetics, neuroaesthetics, and the sister arts
• Seen and heard : a model for the sister arts
• Aesthetics beyond the mind's eye : imagery and the sister arts
• Toward a dynamic aesthetics : the sister arts and beyond.

A theory of the neural bases of aesthetic experience across the arts, which draws on the tools of both cognitive neuroscience and traditional humanist inquiry. In Feeling Beauty, G. Gabrielle Starr argues that understanding the neural underpinnings of aesthetic experience can reshape our conceptions of aesthetics and the arts. Drawing on the tools of both cognitive neuroscience and traditional humanist inquiry, Starr shows that neuroaesthetics offers a new model for understanding the dynamic and changing features of aesthetic life, the relationships among the arts, and how individual differences in aesthetic judgment shape the varieties of aesthetic experience. Starr, a scholar of the humanities and a researcher in the neuroscience of aesthetics, proposes that aesthetic experience relies on a distributed neural architecture-a set of brain areas involved in emotion, perception, imagery, memory, and language. More important, it emerges from networked interactions, intricately connected and coordinated brain systems that together form a flexible architecture enabling us to develop new arts and to see the world around us differently. Focusing on the "sister arts" of poetry, painting, and music, Starr builds and tests a neural model of aesthetic experience valid across all the arts. Asking why works that address different senses using different means seem to produce the same set of feelings, she examines particular works of art in a range of media, including a poem by Keats, a painting by van Gogh, a sculpture by Bernini, and Beethoven's Diabelli Variations. Starr's innovative, interdisciplinary analysis is true to the complexities of both the physical instantiation of aesthetics and the realities of artistic representation.
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An exploration of the tensions between East and West and digital and analog in Japanese new-media art. This book grew out of Yvonne Spielmann's 2005-2006 and 2009 visits to Japan, where she explored the technological and aesthetic origins of Japanese new-media art-which was known for pioneering interactive and virtual media applications in the 1990s. Spielmann discovered an essential hybridity in Japan's media culture: an internal hybridity, a mixture of digital-analog connections together with a non-Western development of modernity separate from but not immune to Western media aesthetics; and external hybridity, produced by the international, transcultural travel of aesthetic concepts. Spielmann describes the innovative technology context in Japan, in which developers, engineers, and artists collaborate, and traces the Japanese fondness for precision and functionality to the poetics of unobtrusiveness and detail. She examines work by artists including Masaki Fujihata, whose art is both formally and thematically hybrid; Seiko Mikami and Sota Ichikawa, who build special devices for a new sense of human-machine interaction; Toshio Iwai, who connects traditional media forms with computing; and Tatsuo Miyajima, who anchors his LED artwork in Buddhist philosophy. Spielmann views hybridity as a positive aesthetic value-perhaps the defining aesthetic of a global culture. Hybridity offers a conceptual approach for considering the ambivalent linkages of contradictory elements; its dynamic and fluid characteristics are neither conclusive nor categorical but are meant to stimulate fusions.
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• List of Illustrations Preface Acknowledgments Introduction
• 1. The Cinematic Whirl of Man Ray's Ghostly Objects
• 2. Claude Cahun's Exploration of the Autobiographical Human
• 3. The Ethnographic Automatism of Brassai and Dali's Involuntary Sculptures
• 4. The Ghostliness in Lee Miller's Egyptian Landscapes
• 5. Dorothea Tanning's Gothic Ghostliness
• 6. Francesca Woodman's Ghostly Interior Maps
• 7. Pierre Alechinsky's Ghostly Palimpsests
• 8. Susan Hiller's Freudian Ghosts Conclusion Notes Bibliography Index.
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In this study of surrealism and ghostliness, Katharine Conley provides a new, unifying theory of surrealist art and thought based on history and the paradigm of puns and anamorphosis. In Surrealist Ghostliness, Conley discusses surrealism as a movement haunted by the experience of World War I and the repressed ghost of spiritualism. From the perspective of surrealist automatism, this double haunting produced a unifying paradigm of textual and visual puns that both pervades surrealist thought and art and commemorates the surrealists' response to the Freudian unconscious. Extending the gothic imagination inherited from the eighteenth century, the surrealists inaugurated the psychological century with an exploration of ghostliness through doubles, puns, and anamorphosis, revealing through visual activation the underlying coexistence of realities as opposed as life and death. Surrealist Ghostliness explores examples of surrealist ghostliness in film, photography, painting, sculpture, and installation art from the 1920s through the 1990s by artists from Europe and North America from the center to the periphery of the surrealist movement. Works by Man Ray, Claude Cahun, Brassai and Salvador Dali, Lee Miller, Dorothea Tanning, Francesca Woodman, Pierre Alechinsky, and Susan Hiller illuminate the surrealist ghostliness that pervades the twentieth-century arts and compellingly unifies the century's most influential yet disparate avant-garde movement.
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• Part I. "Moving" images
• Images of the Prophet Muhammad in and out of modernity : the curious case of a 2008 mural in Tehran / Christiane Gruber
• Secular domesticities, Shiite modernities : Khomeini's illustrated Tawzih al-Masail / Pamela Karimi
• Memory and ideology : images of Saladin in Syria and Iraq / Stefan Heidemann
• "You will (not) be able to take your eyes off it!" : mass-mediated images and politico-ethical reform in the Egyptian Islamic revival / Patricia Kubala
• Part 2. Islamist iconographies
• The Muslim "crying boy" in Turkey : aestheticization and politicization of suffering in Islamic imagination / Ozlem Sava
• The new happy child in Islamic picture books in Turkey / Umut Azak
• Sadrabiliyya : the visual narrative of Muqtada al-Sadr's Islamist politics and insurgency in Iraq / Ibrahim Al-Marashi
• The martyr's fading body : propaganda vs. beautification in the Tehran cityscape / Ulrich Marzolph
• Part 3. Satirical contestations
• Pushing out Islam : cartoons of the reform period in Turkey (1923-1930) / Yasemin Gencer
• Blasphemy or critique? : secularists and Islamists in Turkish cartoon images / John VanderLippe and Pinar Batur
• Naji al-Ali and the iconography of Arab secularism / Sune Haugbolle
• Part 4. Authenticity and reality in trans-national broadcasting
• Arab television drama production and the Islamic public sphere / Christa Salamandra
• Saudi-Islamist rhetorics about visual culture / Marwan Kraidy.

This timely book examines the power and role of the image in creating a rhetorical lexicon for political Islam. The essays explore the role and function of image making to highlight the ways in which the images "speak" and what visual languages mean for the construction of Islamic subjectivities, the politics of power, and the formation of identity and belonging. Visual Culture in the Modern Middle East addresses aspects of the visual in the Islamic world, including the presentation of Islam on television; the internet and other digital media; banners, posters, murals, and graffiti; and the satirical press, cartoons, and children's books.
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• List of illustrations
• Introduction
• Courtly lyric I. Simone Martini, French courtly lyric, and the vernacular
• Courtly lyric II. Sandro Botticelli and Poliziano : humanist learning and the vernacular
• Civic ritual I. Cardinal Orsini's paintings and Baccio Baldini's engravings of the Sibyls : humanist learning and vernacular drama
• Civic ritual II. Reconstructing the vernacular octaves with the prophecies of the twelve Sibyls
• Appendix. Cardinal Orsini's twelve Sibyls and their prophecies in vernacular octaves reconstructed.

Why do the paintings and poetry of the Italian Renaissance-a celebration of classical antiquity-also depict the Florentine countryside populated with figures dressed in contemporary silk robes and fleur-de-lys crowns? Dempsey argues that a fusion of classical form with contemporary content was the defining characteristic of the period.
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Why do the paintings and poetry of the Italian Renaissance-a celebration of classical antiquity-also depict the Florentine countryside populated with figures dressed in contemporary silk robes and fleur-de-lys crowns? Upending conventional interpretations of this well-studied period, Charles Dempsey argues that a fusion of classical form with contemporary content, once seen as the paradox of the Renaissance, can be better understood as its defining characteristic. Dempsey describes how Renaissance artists deftly incorporated secular and popular culture into their creations, just as they interwove classical and religious influences. Inspired by the love lyrics of Parisian troubadours, Simone Martini altered his fresco Maesta in 1321 to reflect a court culture that prized terrestrial beauty. As a result the Maesta scandalously revealed, for the first time in Italian painting, a glimpse of the Madonna's golden locks. Modeled on an ancient statue, Botticelli's Birth of Venus went much further, featuring fashionable beauty ideals of long flowing blonde hair, ivory skin, rosy cheeks, and perfectly arched eyebrows. In the only complete reconstruction of Feo Belcari's twelve Sybilline Octaves, Dempsey shows how this poet, patronized by the Medici family, was also indebted to contemporary dramatic modes. Popularizing biblical scenes by mixing the familiar with the exotic, players took the stage outfitted in taffeta tunics and fanciful hats, and one staging even featured a papier mache replica of Jonah's Whale. As Dempsey's thorough study illuminates, Renaissance poets and artists did not simply reproduce classical aesthetics but reimagined them in vernacular idioms.
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• About the Series
• Surla collection
• Zur Buchreihe; Introduction; Given the Popular; Terms and Canons; "The Madness of the Unexpected". Duchamp's Readymades and the Survival of "High" Art; Instrument of Inspiration High/Low Illusions in British Experimental Music and After; English Rebels in Art Circles: The New Age in its Elitist and Populist Dimension; Kinaesthetic Modernism? Rhythms, Bodies and Motion across the Great Divide; Art, Nation and Political Discourse; Culture en quête de repères; Folklore; Dada, Carnival and Revolution.

• Spuren der Volksdichtung in der ungarischen AvantgardeliteraturMusical Boxes: The Impersonal Avant-Garde Poem, Everyday Language and Popular Song; What Did They Need Jazz For? Jazz Music in Polish Interwar Poetry; Der junge Borges und die ultraistische Avantgarde Das Populäre als Taktik; The Theatre of Ramón del Valle-Inclán: Between Modernism and the Popular Imagination; The Everyday; Sitting Pretty: Modernism and the Municipal Chair in the Photographs of André Kertész and Robert Doisneau; Everyday Life in André Breton's Trilogy Nadja, Vases Communicants and L'Amour fou.

• Entre mime et possession: récits surréalistes et fictions populairesThe Blood of the Poet: Cocteau, Surrealism and the Politics of the Vulgar; "Broken Clouds
• also by Instalments": Mediating Art and the Everyday, the High and the Low in the Finnish Literary Avant-Garde of the 1960s; The "Abakans" and the Feminist Revolution; A Glossier Shade of Brown: Imi Knoebel's Raum 19; Commerce; Selling Dada: New York Dada (1921) and Its Dialogue with the European Avant-Garde; Wyndham Lewis and the Inter-War Popular Novel. Potboilers and Gunman Bestsellers.

• Le Douanier Rousseau, Fantômas & Cie: La culture populaire, ressort majeur des Soirées de ParisBetween the Old and the New: The Surrealist Outmoded as a Radical Third Term; "The Hidden Network of the Avant-Garde": der farbige Werbefilm als eine zentraleuropäische Erfindung?; Media; Lessons from the Press: Picasso and Mass Print Media, 1911-37; Film und Filmprojekte in der Wiener Avant-Garde Zeitschrift Ma (1920-25); "Produktion
• Reproduktion": Echos von Lázló Moholy-Nagys Medientheorie in der Geschichte von Film und Medienkunst.

• Modernism in the Ether: Middlebrow Perspectives on European Literature in Flemish Radio Talks (1936-37)A Second Avant-Garde without a First: GreekAvant-Garde Artists in the 1960s and 1970s; Mass Media Avant-Garde: Dislocating the Hi/Lo in the Swedish 1960s; A Tentative Embrace. Superstudio's New Media Nomads; Index.

The avant-garde and modernism take centre-stage within European academia today. The experimental literatures and arts in Europe between ca. 1850 and 1950, and their aftermath, figure prominently on curricula, while modernism and avant-garde studies have come to form distinct yet interlocking disciplines within the humanities in recent years. These disciplines take on various guises on the continent. Within French and German academia, "modernism" remains a term rather alien - "die Moderne" and "modernite" coming perhaps the closest to what is meant by "modernism" within the English context. Here, indeed, modernism has acquired a firm place in research, signaling above all a period in modern poetics and aesthetics, roughly between 1850 and 1950, during which a revolt against prevalent traditions in art, literature and culture took shape. Similarly, the term "avant-garde" comes with an array of often conflicting connotations. For some, the avant-garde marks the most radically experimental arts and literatures in modernism from the nineteenth century onward - the early twentieth-century vanguard movements of Futurism, Expressionism, Dada and Surrealism, among others, coinciding with the avant-garde's most "heroic" phase. For others, the avant-garde belongs to a cultural or conceptual order differing altogether from that of modernism - the vanguard exploits from the 1950s onward marking that avant-garde arts and literatures can also perfectly abide outside modernism. European Avant-Garde and Modernism Studies, far from aiming to reduce the complexity of various European research traditions, aspires to embrace the wide linguistic, terminological and methodological variety within both fields. Publishing an anthology of essays in English, French and German every two years, the series wishes to compare and relate French, German and British, but also Northern and Southern as well as Central and Eastern European findings in avant-garde and modernism studies. The series gathers the best and most thought-provoking recent research and devotes itself to the study of the European avant-garde and modernism throughout the nineteenth and twentieth centuries. European Avant-Garde and Modernism Studies promotes interdisciplinary and intermedial research on experimental aesthetics and poetics, and aims to encourage an interest in the cultural dimensions and contexts of the avant-garde and modernism in Europe. Essays accepted by the editorial board are subjected to blind peer-review by international experts. Editors-in-chief: Sascha Bru (Leuven University) and Peter Nicholls (New York University). Editorial Board: Jan Baetens (Leuven University), Hubert van den Berg (University of Groningen), Benedikt Hjartarson (University of Iceland) and Tania Orum (University of Copenhagen). Advisory Board: Dawn Ades (University of Essex), Wolfgang Asholt (Universitat Osnabruck), Karlheinz Barck (Zentrum fur Literaturforschung Berlin), Henri Behar (Paris III, Sorbonne nouvelle), Timothy O. Benson (LACMA), Gunter Berghaus (University of Bristol), Stefano Boeri (Multiplicity & Universita luav di Venezia), Endre Bojtar (Central European University, Budapest), Christina von Braun (Humboldt Universitat), Peter Burger (Universitat Bremen), Matei Calinescu (University of Indiana), Claus Cluver (University of Indiana), Antoine Compagnon (College de France), Maria Delaperriere (INALCO, Paris), Pascal Dethurens (Universite de Strasbourg), Eva Forgacs (College of Design, Pasadena), Hans Gunther (Bielefeld University), Cornelia Klinger (Eberhard-Karls Universitat Tubingen), Rudolf Kuenzli (University of Iowa), Bruno Latour (Institut d'Etudes Politiques de Paris), Paul Michael Lutzeler (Washington University of St. Louis), Laura Marcus (University of Edinburgh), Richard Murphy (University of Sussex), Francois Noudelmann (Universite de Paris VIII), Krisztina Passuth (University of Budapest), Marjorie Perloff (Stanford University/University of Southern California), Michel Poivert (Paris I, Pantheon-Sorbonne), Susan Rubin-Suleiman (Harvard University), Rainer Rumold (Northwestern University), Jean-Yves Tadie (Paris IV, Sorbonne), Brandon Taylor (University of Southhampton), Andrew Webber (Churchill College, Cambridge).
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• Witchcraft and the Western imagination
• The gorgon of Augsburg
• Dürer's empty frame
• Envy
• Witchcraft and village drama
• Witches' children
• The suicidal student.

In an exciting new approach to witchcraft studies, The Witch in the Western Imagination examines the visual representation of witches in early modern Europe. With vibrant and lucid prose, Lyndal Roper moves away from the typical witchcraft studies on trials, beliefs, and communal dynamics and instead considers the witch as a symbolic and malleable figure through a broad sweep of topics and time periods. Employing a wide selection of archival, literary, and visual materials, Roper presents a series of thematic studies that range from the role of emotions in Renaissance culture to demonology as entertainment, and from witchcraft as female embodiment to the clash of cultures on the brink of the Enlightenment. Rather than providing a vast synthesis or survey, this book is questioning and exploratory in nature and illuminates our understanding of the mental and psychic worlds of people in premodern Europe. Roper's spectrum of theoretical interests will engage readers interested in cultural history, psychoanalytic theory, feminist theory, art history, and early modern European studies. These essays, three of which appear here for the first time in print, are complemented by more than forty images, from iconic paintings to marginal drawings on murals or picture frames. In her unique focus on the imagery of witchcraft, Lyndal Roper has succeeded in adding a compelling new dimension to the study of witchcraft in early modern Europe.
(source: Nielsen Book Data)

• 1. VARIETIES OF 'HOMOSEXUALITY'-- VARIETIES OF 'ART'. INITIATORY HOMOSEXUALITY: THE 'SAMBIA' OF NEW GUINEA & ANCIENT GREECE AND ROME. GENDER-TRANSCENDENT HOMOSEXUALITY: POLYNESIA & NORTH AMERICA. PERFORMATIVE HOMOSEXUALITY: TOKUGAWA JAPAN
• 2. BEFORE MODERNITY. EARLY CHRISTIAN AND MEDIEVAL EUROPE. THE RENAISSANCE. 17TH- AND 18TH-CENTURY EUROPE
• 3. INVENTING THE MODERN: ART AND SEXUAL IDENTITY IN THE LATE- NINETEENTH CENTURY. IMAGERY AT MID-CENTURY. INVENTING THE AVANT-GARDE. ARTISTS AT MID-CENTURY. THE MODERN ARTIST AS HOMOSEXUAL. AESTHETES AND ART JOURNALS
• 4. SECRETS AND SUBCULTURES, 1900-1940. ECHOES OF AESTHETICISM. AVANT-GARDE CONTINGENTS. SEXUALITY AND RACE. STRATEGIES OF CODING: ABSTRACTION AND SYMBOLS. THE LIMITS OF THE AVANT-GARDE. THE AVANT-GARDE AND THE OPEN SECRET. THE OPEN SECRET AND MASS CULTURE
• 5. THE SHORT TRIUMPH OF THE MODERN: 1940-1965. EXPRESSION AND REPRESSION IN POST-WAR ART. POPULAR IMAGERY, POP ART, AND THE ORIGINS OF POSTMODERNISM. CAMP AND CRITICISM
• 6. THE AVANT-GARDE AND ACTIVISM: 1965-1982. ART VS. POLITICS. FEMINISTS, LESBIANS, AND FEMALE SENSIBILITY. IDENTITY AND SENSIBILITY
• 7. THE AIDS DECADE: 1982-1992. AIDS AND THE AVANT-GARDE. AIDS, ACTIVISM, AND VISUAL CULTURE. HOMOPHOBIA AND VISUAL CULTURE
• 8. QUEER AND BEYOND. QUEER. FRAGMENTATION FROM WITHIN. PRESSURE FROM WITHOUT. WORKING THROUGH DIFFERENCE: THE BLACK MALE NUDE.
• (source: Nielsen Book Data)

Lavishly illustrated with over 175 black-and-white and color images that range from high to popular culture and from Ancient Greece to contemporary America, Christopher Reed's arresting book reveals the deep linkages between art and homosexuality as we understand those terms. This is the first book to fully explore the interdependence between the identity of the artist and the homosexual. It offers a bold, globe-spanning narrative that draws on artwork from all the important periods in the Western tradition, including classical, Renaissance, and contemporary, with special focus on the modern period. It was in the nineteenth century that the identities of the avant-garde artist and the homosexual took shape, and almost as quickly overlapped. The figures involved-Ingres, Courbet, Wilde, Whitman-are among that era's most iconic artists. The development of twentieth-century art-exemplified in the work of figures like Gertrude Stein, Jasper Johns, David Hockney, and David Wojnarowicz-this book argues is simply not understandable apart from the concurrent development of ideas about sexual identity. This highly readable volume challenges the ideas of many prominent art critics and punctures the platitudes surrounding discussions of both art and sexuality. The book discusses what it means to be an insider and outsider, how sexuality came to define one's fundamental humanity, and what people risk (and gain) in rejecting economic and social conformity. Reed shows that many of the core ideas that define modern thought more generally are nearly indecipherable without an understanding of this pairing. The debates that have surrounded artists and homosexuals in effect capture the dramatic history of the evolution of the modern mind.
(source: Nielsen Book Data)

• Introduction / Elaine Kelly, Amy Wlodarski
• Public confrontations of GDR art. In the crucible: Bernard Heisig and the Hotel Deutschland murals / April A. Eisman ; The invisible uprising: filmmaking and East Germany's 'Day X' / Skyler J. Arndt-Briggs ; Quid pro quo: assessing the value of Berlin's Thälmann monument / Kristine Nielsen
• Internationalism and GDR art. Beyond socialist realism: alternative painting in Dresden / Sigrid Hofer ; Reading transnationally: the GDR and American black writers / Sara Lennox ; The legacy of GDR directors on the post-Wende opera stage / Joy H. Calico
• Alternative musical voices. Music and discourse / Matthias Tischer ; Gender discourse and musical life in the GDR / Nina Noeske ; 'Monopol der Diskussion?': alternative voices in the Verband Deutscher Komponisten und Musikwissenschaftler / Laura Silverberg
• Curating the GDR. German art collections and exhibits since 1989: the legacy of the GDR / Jonathan Osmond ; Re-introducing GDR art to Germany: the Kunstfonds in Dresden / Silke Wagler ; 'GDR on the Pacific': (re)presenting East Germany in Los Angeles / Justinian Jampol.

This collection of essays, written by leading scholars in the fields of East German art, film, literature, music, and museum studies, seeks to renegotiate the artistic legacy of the German Democratic Republic. Combining a range of theoretical and practical perspectives, the volume challenges the narrow frameworks of totalitarianism and Ostalgie that have dominated discussions of art produced in the GDR. It explores the diversity of art produced in the state and contests the long-held perception that socialist realism and artistic innovation were mutually exclusive. Crucially, the collection puts art itself to the fore; GDR art is considered not simply as a political by-product, as is so often the case, but as an entity of innovation and aesthetic value in its own right.
(source: Nielsen Book Data)

• Exordium: An Accidental Remainder Introduction: The Missing Mass
• 1. Art, Politics, Dark Matter: Nine Prologues
• 2. The Grin of the Archive
• 3. History That Disturbs the Present
• 4. Temporary Services
• 6. The Unnamable
• 7. Mockstitutions
• 8. Conclusions: Nights of Amateurs Notes Bibliography Appendix: Artists' Groups Survey 2008 Index.
• (source: Nielsen Book Data)

Art is big business, with some artists able to command huge sums of money for their works, while the vast majority are ignored or dismissed by critics. This book shows that these marginalised artists, the 'dark matter' of the art world, are essential to the survival of the mainstream and that they frequently organize in opposition to it. Gregory Sholette, a politically engaged artist, argues that imagination and creativity in the art world originate thrive in the non-commercial sector shut off from prestigious galleries and champagne receptions. This broader creative culture feeds the mainstream with new forms and styles that can be commodified and used to sustain the few artists admitted into the elite. This dependency, and the advent of inexpensive communication, audio and video technology, has allowed this 'dark matter' of the alternative art world to increasingly subvert the mainstream and intervene politically as both new and old forms of non-capitalist, public art. This book is essential for anyone interested in interventionist art, collectivism, and the political economy of the art world.
(source: Nielsen Book Data)

• Franklin Furnace : a timeline
• A long conversation with Martha Wilson
• Art and the loft law in downtown New York City / Paul M. Gulielmetti
• Money and art at Franklin Furnace in the early years / Barbara Quinn
• Some of my performances in retrospect / Annie Sprinkle
• When Franklin Furnace went virtual / Robert Galinsky
• Exemplary quality irreverence / Adrianne Wortzel
• You can't stay avant-garde / David S. Perlmutter
• Broadcasting artists' ideas
• Virtually live
• Preserving the avant-garde
• Franklin Furnace publications.

Franklin Furnace is a renowned New York-based arts organization whose mission is to preserve, document, and present works of avant-garde art by emerging artists - particularly those whose works may be vulnerable due to institutional neglect or politically unpopular content. Over more than thirty years, Franklin Furnace has exhibited works by hundreds of avant-garde artists, some of whom - Laurie Anderson, Vito Acconci and the Blue Man Group, to name a few - are now established names in contemporary art. Here, for the first time, is a comprehensive history of this remarkable organization from its conception to the present. Organized around the context of the major art genres that emerged in the second half of the twentieth century, this book intersperses first-person narratives with readings by artists and scholars on issues critical to the organization's success as well as Franklin Furnace's many contributions to avant-garde art.

• List of Figures List of Tables Preface List of Abbreviations Introduction: The Creative Voice and Cultural Identity
• 1. Cultural Politics and Global Anxieties
• 2. Value, Markets, Patronage
• 3. Culture Wars
• 4. UNESCO and the Europeans
• 5. Cultural Patrons in the Developing World
• 6. Culture by Any Other Name
• 7. The Creative Voice and Cultural Policy Notes Works Cited Index.
• (source: Nielsen Book Data)

Our interactive world can take a creative product, such as a Hollywood film, Bollywood song, or Latin American telenovela, and transform it into a source of cultural anxiety. What does this artwork say about the artist or the world she works in? How will these artworks evolve in the global market? Film, music, television, and the performing arts enter the same networks of exchange as other industries, and the anxiety they produce informs a fascinating area of study for art, culture, and global politics. Focusing on the confrontation between global politics and symbolic creative expression, J. P. Singh shows how, by integrating themselves into international markets, entertainment industries give rise to far-reaching cultural anxieties and politics. With examples from Hollywood, Bollywood, French grand opera, Latin American television, West African music, postcolonial literature, and even the Thai sex trade, Singh cites not only the attempt to address cultural discomfort but also the effort to deny entertainment acts as cultural. He connects creative expression to clashes between national identities, and he details the effect of cultural policies, such as institutional patronage and economic incentives, on the making and incorporation of art into the global market. Ultimately, Singh shows how these issues affect the debates on cultural trade being waged by the World Trade Organization, UNESCO, and the developing world.
(source: Nielsen Book Data)

• Recovering cultural histories: engaging creative tensions in indigenous and diasporic contexts
• Transforming urban spaces: from postcolonial neighborhoods to public squares
• Community-university collaborations: blurring the boundaries.

• Introduction: The diversity and mobility of immigrant arts / Paul DiMaggio and Patricia Fernández-Kelly
• Migrants and the transformation of Philadelphia's cultural sector / Mark J. Stern, Susan C. Seifert, and Domenic Vitiello
• A howl to the heavens: art in the life of first- and second-generation Cuban Americans / Patricia Fernández-Kelly
• Inside and outside the box: the politics of Arab American identity and artistic representations / Amaney Jamal
• Desis in and out of the house: South Asian youth culture in the United States before and after 9/11 / Sunaina Maira
• The intimate circle: finding common ground in mariachi and norteña music / Clifford R. Murphy
• GenerAsians learn Chinese: the Asian American youth generation and new class formations / Deborah Wong
• Unfinished journey: Mexican migration through the visual arts / Gilberto Cárdenas
• Immigrant art as liminal expression: the case of Central Americans / Cecilia Menjívar
• Negotiating memories of war: arts in Vietnamese American communities / Yen Le Espiritu
• Miracles on the border: the votive art of Mexican migrants to the United States / Jorge Durand and Douglas S. Massey
• Visual culture and visual piety in Little Haiti: the sea, the tree, and the refugee / Terry Rey and Alex Stepick.

Art in the Lives of Immigrant Communities in the United States is the first book to provide a comprehensive and lively analysis of the contributions of artists from America's newest immigrant communities--Africa, the Middle East, China, India, Southeast Asia, Central America, and Mexico. Adding significantly to our understanding of both the arts and immigration, multidisciplinary scholars explore tensions that artists face in forging careers in a new world and navigating between their home communities and the larger society. They address the art forms that these modern settlers bring with them; show how poets, musicians, playwrights, and visual artists adapt traditional forms to new environments; and consider the ways in which the communities' young people integrate their own traditions and concerns into contemporary expression.
(source: Nielsen Book Data)

• Preface-- Executive summary-- NEA research on artist occupations-- Artist occupation data-- The artist workforce over time-- Geographic trends-- Demographic trends-- Employment and income-- Artist profiles-- Index.
• (source: Nielsen Book Data)

This book uses United States census occupation data to analyse artists' demographic and employment patterns. The book begins with a discussion of key findings, followed by 60 supporting tables derived from the 1990 and 2000 censuses and the 2003-2005 American Community Survey. The tables contain detailed information about artists that is not readily available in print or on the Internet. Also included are three appendices that describe the census-defined artist occupations, the data sources, the accuracy of the estimates, and the new American Community Survey. This is an edited, excerpted and augmented edition of a National Endowment for the Arts publication.
(source: Nielsen Book Data)

• Preface-- 2008 Arts Education Assessment Framework-- The Nation's Report Card: Arts 2008
• Music & Visual Arts-- Access to Arts Education: Inclusion of Additional Questions in Education's Planned Research Would Help Explain Why Instruction Time has Decreased for Some Students-- Index.
• (source: Nielsen Book Data)

The National Assessment of Educational Progress (NAEP) arts education framework is founded on a vision of a society that believes the arts are essential to every child's complete development. Throughout their lives, they will draw from artistic experience and knowledge as a means of understanding what happens both inside and outside their own skin, just as they use mathematical, scientific, and other frameworks for understanding. This book examines the results of the 2008 National Assessment of Education Progress in the arts, which was given to a nationally representative sample of 7,900 eighth grade public and private school students.
(source: Nielsen Book Data)

• 1. How Does a Successful Arts Organization Function?
• 2. How Does an Arts Organization Evolve?
• 3. Has Our Board Matured with Our Organization?
• 4. Why Do We Need a Mission Statement? What Constitutes a Good Mission Statement?
• 5. How Should We Develop a Mission Statement?
• 6. Do Our Board Meetings Reflect Our Mission?
• 7. What Are the Major Responsibilities of the Board?
• 8. How Many People Should Serve on Our Board?
• 9. What Are the Best Leadership Structures? What Kind of Board Leadership Do We Need?
• 10. Do We Need Board or Staff Diversity?
• 11. Do We Need Board Members with Specific Skills? Should We Have Other Not-for-Profit Executives on Our Board?
• 12. Where Do We Find New Board Members? How Should New Members Be Added?
• 13. Should We Have a "Give-or-Get" Policy?
• 14. Do We Need Term Limits?
• 15. What is the Function of a Governance Committee or Nominating Committee?
• 16. How Do We Fire Unproductive Board Members?
• 17. Apart from a Governance Committee, What Other Committees Do We Need?
• 18. Should the Artistic Director and Executive Director Serve on the Board?
• 19. Are We Relying Too Heavily on Contributed Revenue?
• 20. How Do We Attract Corporate Contributions? Foundation Contributions? Individual Contributions?
• 21. How Do We Maximize the Results of Our Annual Gala?
• 22. How Do We Evaluate a Fundraising Plan?
• 23. Are Board Members Responsible for Fundraising? How Do We Get Board Members to Raise Money?
• 24. Are We Embarrassed about Our Organization?
• 25. Are We Ready to Mount a Capital Campaign? How Do We Pursue This Campaign?
• 26. How Do We Evaluate a Marketing Plan?
• 27. How Do We Get a Diverse Audience? A Younger Audience?
• 28. Are Our Ticket Prices Appropriate?
• 29. Why Are Subscription Sales So Much Lower Than in the Past?
• 30. Are We Using the Internet Properly?
• 31. Our Theater Is Empty, What Should We Do?
• 32. Our Theater Is Filled, What Should We Do?
• 33. What Should We Think about When We Hire an Artistic Director or an Executive Director?
• 34. Should We Hire from the For-Profit Sector?
• 35. Is It Appropriate for Board Members to Do the Work of the Staff If They Are Not Doing It Well?
• 36. How Should the Artistic Director and the Executive Director Relate to Each Other?
• 37. How Should We Approach a Strategic Planning Process? How Can We Make Sure the Plan Is Implemented?
• 38. Do We Really Believe the Budget We Just Passed? Where Should We Cut If We Need To?
• 39. Should We Build a New Facility?
• 40. What Are the Major Pitfalls of Planning We Should Avoid?
• 41. Our Organization Is in a Crisis, What Do We Do?
• 42. Our Organization Is Not in the United States, Does That Make a Difference?
• 43. Our Organization Is an Institution of Color, Does That Make a Difference?
• 44. Should We Have a Subsidiary Board? A Volunteer Group?
• 45. Aren't All Artists Spendthrifts?
• 46. What Is the Board's Role in Artistic Planning?
• 47. How Many Years Out Should We Be Planning Our Art?
• 48. Should We Form Joint Ventures?
• 49. Should We Build a Touring Program?
• 50. Do We Need an Education Program?

Not-for-profit arts organizations struggled to survive the recent economic recession. In this increasingly hardscrabble environment, it is absolutely imperative that the boards of these organizations function as energetically, creatively, and efficiently as possible. Michael M. Kaiser's personal history with boards of arts organizations began when he served on the board of the Washington Opera (now the Washington National Opera) in 1983. Today, in his capacity as president of the John F. Kennedy Center for the Performing Arts, Kaiser recently completed a 50-state, 69-city Arts in Crisis tour. Board issues came up repeatedly as central to the success or failure of the organization. Drawing on these and many other conversations, nationally and internationally, Kaiser's book offers members of boards and staffs the information they need to create the healthy atmosphere necessary to thriving arts organizations. Organized in a clear, readable, question-and-answer format, Leading Roles covers every aspect of board participation in the life of the organization, including mission and governance; fundraising and marketing responsibilities; the relationship of the board to the artistic director, executive director, and staff; and its responsibilities for planning and budgeting. Kaiser addresses boards in crisis, international boards, and boards of arts organizations of color. Throughout, he emphasizes the importance of transparency and clarity in the board's dealings with its own members and those of the arts community of which it is a part, showing how anything less results in contentiousness that can immobilize an arts organization, or even tear it apart.
(source: Nielsen Book Data)

• Contents - 6[-]How to Approach This Book - 10[-]Introduction: Prospective Mapping and[-]Network of Terms - 14[-]Portal: Performativity and Corporeal[-]Literacy - 28[-]Node: Modes of Experience - 46[-]Instances - 50[-]Portal: Time and Space - 84[-]Node: Dimensions - 98[-]Instances - 102[-]Portal: Digital Culture and[-]Posthumanism - 124[-]Node: Actuality-Virtuality - 142[-]Instances - 144[-]Portal: Networking - 172[-]Node: Inter-relations - 186[-]Instances - 192[-]Portal: Pedagogic Praxis - 218[-]Retrospection: The Pre- and Proto-digital - 238[-]Notes - 260[-]Cited Works - 268[-]Contributors - 284[-]Index - 294.
• (source: Nielsen Book Data)

This volume examines afresh the impact upon acting and performance of digital technologies. It is concerned with how digital culture combines the traditional 'liveness' of theatre with media interfaces and internet protocols. The time and space of the 'here and now' are both challenged and adapted, just as barriers between theatre-makers and the 'experiencers' of events are broken down. Today many of us are everyday players performing the interconnectedness of digital culture and a key aim of the book is to unpack the multiple interrelations within the landscape of contemporary performance. Access to a range of 'instances' (The Builders Association, Castellucci, Castorf, Gob Squad, Lepage, Second Life and VJing) is through 'portals' which afford perspectives on the main characteristics of theatre and performance in the digital age.
(source: Nielsen Book Data)

• Table of Contents - 8[-]Dramatis personae - 10[-]Introduction - 14[-]1. An eye for an eye[-] - 26[-]2. True colors[-] - 58[-]3. Hushing up[-] - 86[-]4. For art's sake[-] - 108[-]5. The expert tamed[-] - 130[-]6. Retaliation[-] - 172[-]7. An uneasy legacy[-] - 192[-]8. Between a rock and a hard place[-] - 204[-]9. Among art experts[-] - 232[-]10. The gift[-] - 256[-]11. The unfinished Vincent[-] - 274[-]Acknowledgments - 302[-]Notes - 306[-]Archives - 330[-]Illustrations - 332[-]Bibliography - 334[-]Index of names - 346.
• (source: Nielsen Book Data)

Vincent van Gogh's paintings and drawings are fabulously expensive. Millions of people admire his work, but are those masterpieces all genuine? To this day, the international art world struggles to separate the real Van Goghs from the fake ones, and the key question addressed in this book is what may happen to art experts when they publicly voice their opinions on a particular Van Gogh (or not). The story starts with art expert J.B. de la Faille who discovered to his own bewilderment that he had included dozens of fake Van Goghs in his 1928 catalogue raisonn . He wanted to set the record straight, but met with strong resistance from art dealers, collectors, critics, politicians and others, marking the beginning of a fierce clash of interests that had seized the art world for many decades of the twentieth century. In his fascinating account of the struggle for the genuine Vincent van Gogh, Tromp shows the less attractive side of the art world. His reconstruction of many such confrontations yields a host of intriguing and sometimes bewildering insights into the fates of art experts when they bring unwelcome news.
(source: Nielsen Book Data)

• Introduction
• Into the zone
• "Spiritual, but not religious"?
• Ritual without dogma
• Desert pilgrimage
• Media mecca
• Burn-a-lujah!
• Appendix 1. Demography : the face of the festival
• Appendix 2. On-line survey
• Appendix 3. Burning man organization mission statement.

"Gilmore's study brings new voices and experiences to current debates about religion versus spirituality through her richly textured descriptions of the characters, events, and spaces that make up the seemingly strange but culturally significant Burning Man festival. Readers will discover that Burning Man is a wonderful illustration of the dialectic between self and community at the heart of much of American religion today. Gilmore persuades us that those who trivialize this event by seeing it as a huge party, miss the ways in which Burning Man provides an unusual snapshot of diverse form.

• Introduction
• Into the zone
• "Spiritual, but not religious"?
• Ritual without dogma
• Desert pilgrimage
• Media mecca
• Burn-a-lujah!
• Appendix 1. Demography : the face of the festival
• Appendix 2. On-line survey
• Appendix 3. Burning man organization mission statement.

"Gilmore's study brings new voices and experiences to current debates about religion versus spirituality through her richly textured descriptions of the characters, events, and spaces that make up the seemingly strange but culturally significant Burning Man festival. Readers will discover that Burning Man is a wonderful illustration of the dialectic between self and community at the heart of much of American religion today. Gilmore persuades us that those who trivialize this event by seeing it as a huge party, miss the ways in which Burning Man provides an unusual snapshot of diverse form.

• Walter Biemel, Francois Fedier, Ivo De Gennaro, Hubert Eiholzer, Paolo Fedeli, Hans-Christian Gunther, Hisaki Hashi, Arnd Kerkhecker, Rolf Kuhn, Donald Rayfield, Tobias Reinhardt, Harro von Senger, Johann Peter Vogel.
• (source: Nielsen Book Data)

A much discussed question in classical studies is the comparison between the situation of poets in Augustan Rome and that of artists and intellectuals in the totalitarian regimes of the twentieth century. As instructive as this question proves to be for an understanding of the relation between the freedom of art and thinking on the one hand and power on the other, it also reveals the insufficiency of our present grasp of this crucial articulation of our humanity. This volume offers a multidisciplinary and comparative approach to the problem, complementing the historical perspective with a regard on Eastern traditions. It thus explores tentative paths for future research on an issue of critical importance for the shaping of the global world.
(source: Nielsen Book Data)

From Word to Canvas: Appropriations of Myth in Women's Aesthetic Production is an innovative collection of essays on female aesthetic production and myth, examining the ways in which women artists and writers utilize myth to negotiate their perceptions of feminine identity and feminine representation in an increasingly complex and culturally hybrid world. The featured essays and artistic contributions address a variety of contemporary female productions, including literature, performance, and visual art, in a markedly global scope. Representing a wide range of cultures, languages, geographic locales, and social contexts-from Jewish-Hindu and Kenyan-German, through Irish, Italian, American, to Vietnamese folktales-this diversified selection underscores the agency of "the feminine gaze" across a historical and geopolitical span, a gaze through which myths from various cultures and different cultural amalgams speak to us with force and with significance. The potency of this gaze is linked to the potential of myth simultaneously to encompass and compress history, and to offer the result as a backdrop against which the move from word to canvas-or from a mythic tale to its aesthetic appropriation-is performed in female aesthetic production.
(source: Nielsen Book Data)

• i. Introduction-- ii. Noise and Its Opposite-- iii. Sectarianism in the Sensorium-- iv. Settling the Score-- v. The Technological Ontological-- vi. Rock and Roll Aesthetics-- vii. The Blink of an Ear-- viii. Postscript: A Tentative Definition of Sound Art.
• (source: Nielsen Book Data)

"Eyes in Ears: Art in Music / Music in Art since 1948" traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle. What do Pierre Schaeffer's initial experiments in musique concrete, John Cage's first proposal for a 'silent' piece ("Silent Prayer"), and what many music historians consider to be the first rock and roll song: the Orioles' "It's Too Soon to Know" all have in common? A year of pivotal importance - 1948. "Eyes in Ears: Art in Music / Music in Art since 1948" traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle. Surprisingly, there is no extant book which covers the confluence of the art and music world. "Eyes in Ears" will both document the ways in which music and the gallery arts have infiltrated each others' domains and will theorize the implications of these incursions. Finally, based on the interactions of art and music over the past sixty years, the book will provide an account of the birth of sound art as a distinct practice.
(source: Nielsen Book Data)

• Contents: Introduction, Maria Chatzichristodoulou and Rachel Zerihan-- Creative media: performance, invention, critique, Sarah Kember and Joanna Zylinska--
• Part 1 Environments: Environments, interactions and beings: the ecology of performativity and technics, Chris Salter-- Blurring the boundaries: performance, technology and the artificial sublime - an interview with Ruth Gibson and Bruno Martelli, igloo, Janis Jefferies.
• Part 2 Bodies: Orlan-vertigo/self-touching-you, Simon Donger-- The path to silence, Allucquere Rosanne Stone.
• Part 3 Audiences: Reactivation: performance, mediatization, and the present moment, Philip Auslander-- Moving audiences: strategies of exposure in the work of Gob Squad, Patrick Primavesi-- How to kidnap your audiences: an interview with Matt Adams from Blast Theory, Maria Chatzichristodoulou.
• Part 4 Politics: The tendency to 'trans-': the political aesthetics of the biogrammatic zone, Sher Doruff-- Guillermo GA(3)mez-PeA+/-a: ethno-techno politics, Guillermo GA(3)mez PeA+/-a and Lorena Rivero de Beer-- Performative science in an age of specialization: the case of critical art ensemble, Nicola Triscott.
• Part 5 Affect: Affective connection, Bojana Kunst-- Love at first byte, Melinda Rackham-- Conclusion, Janis Jefferies-- Bibliography-- Index.
• (source: Nielsen Book Data)

This collection of essays and interviews investigates current practices that expand our understanding and experience of performance through the use of state-of-the-art technologies. It brings together leading practitioners, writers and curators who explore the intersections between theatre, performance and digital technologies, challenging expectations and furthering discourse across the disciplines. As technologies become increasingly integrated into theatre and performance, Interfaces of Performance revisits key elements of performance practice in order to investigate emergent paradigms. To do this five concepts integral to the core of all performance are foregrounded, namely environments, bodies, audiences, politics of practice and affect. The thematic structure of the volume has been designed to extend current discourse in the field that is often led by formalist analysis focusing on technology per se. The proposed approach intends to unpack conceptual elements of performance practice, investigating the strategic use of a diverse spectrum of technologies as a means to artistic ends. The focus is on the ideas, objectives and concerns of the artists who integrate technologies into their work. In so doing, these inquisitive practitioners research new dramaturgies and methodologies in order to create innovative experiences for, and encounters with, their audiences.
(source: Nielsen Book Data)

• Introduction: Out of the Marvellous, or, Scholarship and the Magic Arts--
• 1. The Artist and the Terrorist, or, The Paintable and the Unpaintable: Gerhard Richter and the Baader-Meinhof Group--
• 2. The Face, or, Senseless Kindness: War Photography and the Ethics of Responsibility--
• 3. Provenance, or, Authenticity: The Guitar Player and the Arc of a Life--
• 4. Broomstick Horrors, or, The Fog-Walker in the Wood: Keeping up Appearances in the Great War--
• 5. The Strategy of Still Life, or, Art and Current Affairs: Georges Braque and the Occupation--
• 6. All This Happened, or, The Real Waugh: Sword of Honour and the Literature of the Second World War--
• 7. The Secret Life, or, The Soldier's Tale: Military Diaries--
• 8. Like a Dog, or, Animal House on the Night Shift: Kafka and Abu Ghraib--
• 9. It's All Fucked Up, or, The Non-Fiction Horror Movie: The Cinema and the War on Terror--
• 10. Waiting for the Barbarians, or, The Hospitality of War: Civilization and Barbarism in the War on Terror-- Acknowledgements-- Index.
• (source: Nielsen Book Data)

This book offers a sustained demonstration of the way in which works of art can help us to explore the most difficult ethical and political issues of our time: war, terror, extermination, torture and abuse. Author blurb: The book combines art and politics in an original way. It uses art of various kinds (paintings, poems, novels, photographs, films) to explore war; it demonstrates how art can do this. It ranges across the wars of the last century, from the Great War to the Global War on Terror. It is alive to the idea of moral life, even amid depravity and destruction. It is written in a distinctive style, which is said to have some affinities with the work of John Berger. It has one foot in scholarship, the other in magic arts.
(source: Nielsen Book Data)
This book, a collection of Alex Danchev's essays on the theme of art, war and terror, offers a sustained demonstration of the way in which works of art can help us to explore the most difficult ethical and political issues of our time: war, terror, extermination, torture and abuse. It takes seriously the idea of the artist as moral witness to this realm, considering war photography, for example, as a form of humanitarian intervention. War poetry, war films and war diaries are also considered in a broad view of art, and of war. Kafka is drawn upon to address torture and abuse in the war on terror; Homer is utilised to analyse current talk of 'barbarisation'. The paintings of Gerhard Richter are used to investigate the terrorists of the Baader-Meinhof group, while the photographs of Don McCullin and the writings of Vassily Grossman and Primo Levi allow the author to propose an ethics of small acts of altruism. This book examines the nature of war over the last century, from the Great War to a particular focus on the current 'Global War on Terror'. It investigates what it means to be human in war, the cost it exacts and the ways of coping.Several of the essays therefore have a biographical focus.
(source: Nielsen Book Data)

• Introduction--
• 1. The Sign Modes--
• 2. The Operational Modes--
• 3. The Modes of Place--
• 4. But Can We Teach It.
• (source: Nielsen Book Data)

This study is concerned with creativity in education - especially in arts education (broadly conceived to include the visual arts, music, and creative writing). It takes as its starting point Nietzsche's view that works of art do not appear "as if by magic". Using insights from philosophy, psychoanalysis, and semiotics, the book examines the creative processes of many artists in different media, showing how art works often result from processes of construction, deconstruction, and reconstruction that may be long and laborious. Pigrum demonstrates how teachers and their students in all sectors of education may gain from a better, systematic, understanding of such processes.
(source: Nielsen Book Data)

• Ch.
• 1. Introduction
• ch.
• 2. A framework for understanding supply, access, and demand
• ch.
• 3. Enabling individual engagement with works of art
• ch.
• 4. The support infrastructure for youth arts learning
• ch.
• 5. The support infrastructure for adult arts learning
• ch.
• 6. The role of state arts agencies
• ch.
• 7. Conclusions and policy implications
• Appendix a. Interviewees
• Appendix B. taxonomy of SAA grants by type of recipient, national standard code and Rand category
• Appendix C. Taxonomy of SAA grants by type of activity, national standard code, and Rand category.

What does it mean to cultivate demand for the arts? Why is it important and necessary to do so? What can state arts agencies and other arts and education policymakers do to make it happen? The authors set out a framework for thinking about supply and demand in the arts and identify the roles that different factors, particularly arts learning, play in increasing demand for the arts.

• Building arts participation through transactions, relationships, or both / Diane Grams
• Changing culture and practices inside organizations / Betty Farrell
• Leaders bridging the culture gap / D. Carroll Joynes and Diane Grams
• Partnering with purpose / David Karraker and Diane Grams
• Building youth participation / Betty Farrell
• Diversifying the arts: bringing in race and ethnic perspectives / Morris Fred and Betty Farrell
• High-tech transactions and cyber-communities / Wendy Leigh Norris and Niane Grams
• Creative reinvention: from "one book" to "animals on parade"--how good ideas spread like wildfire / Diane Grams
• Achieving success / Diane Grams.

Arts organizations once sought patrons primarily from among the wealthy and well educated, but for many decades now they have revised their goals as they seek to broaden their audiences. Today, museums, orchestras, dance companies, theaters, and community cultural centers try to involve a variety of people in the arts. They strive to attract a more racially and ethnically diverse group of people, those from a broader range of economic backgrounds, new immigrants, families, and youth.The chapters in this book draw on interviews with leaders, staff, volunteers, and audience members from eighty-five nonprofit cultural organizations to explore how they are trying to increase participation and the extent to which they have been successful. The insiders' accounts point to the opportunities and challenges involved in such efforts, from the reinvention of programs and creation of new activities, to the addition of new departments and staff dynamics, to partnerships with new groups. The authors differentiate between ""relational"" and ""transactional"" practices, the former term describing efforts to build connections with local communities and the latter describing efforts to create new consumer markets for cultural products. In both cases, arts leaders report that, although positive results are difficult to measure conclusively, long-term efforts bring better outcomes than short-term activities.The organizations discussed include large, medium, and small nonprofits located in urban, suburban, and rural areas - from large institutions such as the Smithsonian, the Walker Art Center, the Museum of Fine Arts Houston, and the San Francisco Symphony to many cultural organizations that are smaller, but often known nationally for their innovative work, such as AS220, The Loft Literary Center, Armory Center for the Arts, Appalshop, and the Western Folklife Center.
(source: Nielsen Book Data)

• Building arts participation through transactions, relationships, or both / Diane Grams
• Changing culture and practices inside organizations / Betty Farrell
• Leaders bridging the culture gap / D. Carroll Joynes and Diane Grams
• Partnering with purpose / David Karraker and Diane Grams
• Building youth participation / Betty Farrell
• Diversifying the arts: bringing in race and ethnic perspectives / Morris Fred and Betty Farrell
• High-tech transactions and cyber-communities / Wendy Leigh Norris and Niane Grams
• Creative reinvention: from "one book" to "animals on parade"--how good ideas spread like wildfire / Diane Grams
• Achieving success / Diane Grams.

Arts organizations once sought patrons primarily from among the wealthy and well educated, but for many decades now they have revised their goals as they seek to broaden their audiences. Today, museums, orchestras, dance companies, theaters, and community cultural centers try to involve a variety of people in the arts. They strive to attract a more racially and ethnically diverse group of people, those from a broader range of economic backgrounds, new immigrants, families, and youth.The chapters in this book draw on interviews with leaders, staff, volunteers, and audience members from eighty-five nonprofit cultural organizations to explore how they are trying to increase participation and the extent to which they have been successful. The insiders' accounts point to the opportunities and challenges involved in such efforts, from the reinvention of programs and creation of new activities, to the addition of new departments and staff dynamics, to partnerships with new groups. The authors differentiate between ""relational"" and ""transactional"" practices, the former term describing efforts to build connections with local communities and the latter describing efforts to create new consumer markets for cultural products. In both cases, arts leaders report that, although positive results are difficult to measure conclusively, long-term efforts bring better outcomes than short-term activities.The organizations discussed include large, medium, and small nonprofits located in urban, suburban, and rural areas - from large institutions such as the Smithsonian, the Walker Art Center, the Museum of Fine Arts Houston, and the San Francisco Symphony to many cultural organizations that are smaller, but often known nationally for their innovative work, such as AS220, The Loft Literary Center, Armory Center for the Arts, Appalshop, and the Western Folklife Center.
(source: Nielsen Book Data)