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"The merging of the autobiographical with the philosophical or theoretical traced through feminist conceptual art, performance art, literature, philosophy, and activism"-- Provided by publisher

Nowhere is distance so near-at-hand as in Enlightenment culture. Whether in the telescopic surveys of early astronomers, the panoramas of painters, the diaries of travelers, the prospects of landscape architects, or the tales of novelists, distance is never far in the background of the works and deeds of long-eighteenth-century artists, authors, and adventurers. Hemispheres and Stratospheres draws that background into the foreground. Recognizing distance as a central concern of the Enlightenment, this volume offers eight essays on distance in art and literature; on cultural transmission and exchange over distance; and on distance as a topic in science, a theme in literature, and a central issue in modern research methods. Through studies of landscape gardens, architecture, imaginary voyages, transcontinental philosophical exchange, and cosmological poetry, Hemispheres and Stratospheres unfurls the early history of a distance culture that influences our own era of global information exchange, long-haul flights, colossal skyscrapers, and space tourism.
(source: Nielsen Book Data)

• Rachael Young
• Verity Standen
• Deer Park
• Dan Canham
• Abigail Conway
• Nic Green
• Hunt and Darton
• Jemima Young.

"An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more. Together, the 40 essays sketch a map of the contemporary performance landscape from avant-garde dance to live art to independent theatre, tracing the contours of its themes, aims, desires and relationship to the wider worlds of mainstream theatre, art and politics. Each essay focuses on a particular artist and these include Bryony Kimmings, Dickie Beau, Forced Entertainment, rashdash, Scottee, Selina Thompson, Tania El Khoury and Uninvited Guests. Reflecting the radical nature of the work considered, the authors attempt to find a new vocabulary and a non-conventional way of considering live performance in these essays. As both a fresh survey of contemporary performance and an exploration of how to think and write about upstream and avant-garde work, this book should be an essential resource for students, artists and audiences, as well as an accessible entry point for anyone curious to know about the beautiful and strange things happening beyond the UK's theatrical mainstream"-- Provided by publisher.

• Introduction *
• 1. 1950s: Competing Paths to a Higher Form of Realism *
• 2. 1960s: Gestures of Liberation *
• 3. 1970s: Practising Impossible Art *
• 4. 1980s: Excesses of Non-Conformity *
• 5. 1990s: Critical Exposures *
• 6. 2000s: Radical Recollections of the Global Transitioners *
• 7. 2010s: Sculpting Uncertainty * Conclusion.
• (source: Nielsen Book Data)

In this path-breaking new history, Maja and Reuben Fowkes introduce outstanding artworks and major figures from across central and eastern Europe to reveal the movements, theories and styles that have shaped artistic practice since 1950. They emphasize the particularly rich and varied art scenes of Poland, Czechoslovakia, Hungary and Yugoslavia, extending their gaze at intervals to East Germany, Romania, the Baltic states and the rest of the Balkans. While politics in the region have been marked by unstable geography and dramatic transitions, artists have forged a path of persistent experiment and innovation. This generously illustrated overview explores the richness of their singular contribution to recent art history. Tracing art-historical changes from the short-lived unison of the socialist realist period to the incredible diversity of art in the post-communist era, the authors examine the repercussions of political events on artistic life - notably the uprisings in Hungary and Czechoslovakia, the Solidarity movement in Poland, and the collapse of the communist bloc. But their primary interest is in the experimental art of the neo-avant-garde that resisted official agendas and engaged with global currents such as performance art, video, multimedia and net art.
(source: Nielsen Book Data)

• Introduction / Céline Cadaureille et Anne Favier
• Jouer la reproduction : des oeuvres au contact
• Contacts aveuglés. L'écart à l'oeuvre dans les épreuves graphiques d'Éric Manigaud
• Reconduire l'aura au-delà de la reproductibilité
• Didier Vermeiren : de la copie à l'oeuvre
• Le sens du multiple dans la gravure contemporaine
• Copier à l'impossible. Le réemploi et la perte dans la pratique filmique de Yervant Gianikian et Angela Ricci Lucchi
• Emprunts d'oeuvres préexistantes : la question du droit d'auteur
• Rejouer, déplacer : dialogues et réemplois
• Réplique, remake et reprise
• Le fozind footage comme forme de variabilité : le réemploi de l'archive cinématographique dans l'art contemporain
• Le déplacement du réel à travers l'esthétique du found fo otage et du remake dans les installations audiovisuelles de Candice Breitz
• Covers et Citations, limites et transgressions d'un genre nouveau
• Rejouer le musée. Artistes conservateurs, artistes commissaires
• Conserver la Bulle six coques de Jean Maneval, entre traduction et trahison
• Révérence et irrévérence du collage chez François Bon et Michel Houellebecq
• Déjouer le modèle : variabilité à l'oeuvre
• Le texte pluriel : la traduction entre copie, écart et variation
• D'un médium l'autre : variations du même chez Bertrand Lavier et Simon Starling
• Partitions suspendues, partitions étendues : écrire l'instabilité
• A LOUER et l'activation d'oeuvres programmatiques. Quand l'interprétation accompagne la reprise
• Entretien, Émilie Parendeau et Anne Favier
• Patrick Neu. La variation comme "réenchantement" du monde
• Les promesses du multiple dans la fabrique industrielle
• Variations autour des barbotines de porcelaine
• Annexe. À propos de l'illustration de couverture.

"Au-delà de l'apprentissage et de la contrefaçon, l'acte de copier ne cesse de nourrir la création contemporaine. Par déplacements, écarts, et variations se réactualisent de nombreuses réflexions sur la relation instable de l'oeuvre vis-à-vis de son originalité et de son unicité. La répétition comme principe de création nous amène à analyser diverses modalités et procédures de reprise et de réactivation - de la reproduction la plus fidèle aux reformulations les plus distanciées, en passant par de multiples transferts et détours - dans les champs des arts plastiques, de la littérature, de la musicologie, du design, de la muséographie, ou encore des pratiques filmiques. Ce volume valorise une approche transdisciplinaire, croisant les pratiques et les études de chercheurs théoriciens, d'artistes plasticiens, de designers, d'un musicien, d'une conservatrice du patrimoine et d'une juriste."--Page 4 of cover.

• List of Illustrations vii Acknowledgments xi Introduction
• 1
• 1. The Groupe de Recherche d'Art Visuel's Social Abstractions
• 31
• 2. Daniel Buren's Instrumental Invisibility
• 91
• 3. Andre Cadere's Calligrams of Institutional Authority
• 143
• 4. The Collectif d'Art Sociologique's Sociological Realism
• 195 Conclusion
• 257 Notes
• 265 Bibliography
• 293 Index 304.
• (source: Nielsen Book Data)

In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In Disordering the Establishment Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals' modeling of society. Artists and collectives such as Daniel Buren, Andre Cadere, the Groupe de Recherche d'Art Visuel, and the Collectif d'Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment.
(source: Nielsen Book Data)

• List of Illustrations vii Acknowledgments xi Introduction
• 1
• 1. The Groupe de Recherche d'Art Visuel's Social Abstractions
• 31
• 2. Daniel Buren's Instrumental Invisibility
• 91
• 3. Andre Cadere's Calligrams of Institutional Authority
• 143
• 4. The Collectif d'Art Sociologique's Sociological Realism
• 195 Conclusion
• 257 Notes
• 265 Bibliography
• 293 Index 304.
• (source: Nielsen Book Data)

In the decades following World War II, France experienced both a period of affluence and a wave of political, artistic, and philosophical discontent that culminated in the countrywide protests of 1968. In Disordering the Establishment Lily Woodruff examines the development of artistic strategies of political resistance in France in this era. Drawing on interviews with artists, curators, and cultural figures of the time, Woodruff analyzes the formal and rhetorical methods that artists used to counter establishment ideology, appeal to direct political engagement, and grapple with French intellectuals' modeling of society. Artists and collectives such as Daniel Buren, Andre Cadere, the Groupe de Recherche d'Art Visuel, and the Collectif d'Art Sociologique shared an opposition to institutional hegemony by adapting their works to unconventional spaces and audiences, asserting artistic autonomy from art institutions, and embracing interdisciplinarity. In showing how these artists used art to question what art should be and where it should be seen, Woodruff demonstrates how artists challenged and redefined the art establishment and their historical moment.
(source: Nielsen Book Data)

• Interpretações e representações : implicações literárias, inclusivas e midiáticas
• Releituras e registros iconográficos : dimensões políticas, éticas e urbanas

• Acknowledgements--
• 1. Intro - epiphanies--
• 2. What is digital?--
• 3. From art to art practices (phenomenology)--
• 4. The medium will still be the message until ...--
• 5. Looking for an identity (ethics)--
• 6. Outro - broken mirrors-- Index.
• (source: Nielsen Book Data)

Digital art practitioners work under the constant threat of a medium - the digital - that objectifies the self and depersonalises artistic identities. If digital technology is a pharmakon in that it can be either cure or poison, with regard to digital art practices the digital may have in fact worked as a placebo that has allowed us to push back the date in which the crisis between digital and art will be given serious thought. This book is hence concerned with an analysis of such a relationship and proposes their rethinking in terms of an ethico-phenomenological practice informed by an in-depth understanding of the digital medium. Giuseppe Torre engages with underground cultures such as Free and Libre Open Source Software (FLOSS) and its ties with art discourse. The discussion is informed by various philosophical discourses and media theories, with a focus on how such ideas connect back to the existing literature in performance studies. Replete with examples of artwork and practices, this book will be of great interest to students and scholars of theatre and performance studies, art and technology.
(source: Nielsen Book Data)

• Introduction: Environmental Art in the Infowhelm Part I. Cultural Climate Knowledge Preface
• 1. Making Data Experiential
• 2. Coming-of- Mind in Climate Narratives Part II. The New Natural History Preface
• 3. Classifictions
• 4. Visualizing Loss for a "Fragmented Survival" Part III. Aerial Environmentalisms Preface
• 5. Environmental Aftermaths from the Sky
• 6. The Afterlives of Information in Speculative Fiction Epilogue: Can Thinking Make It So? Acknowledgments Notes Works Cited Index.
• (source: Nielsen Book Data)

How do artists and writers engage with environmental knowledge in the face of overwhelming information about catastrophe? What kinds of knowledge do the arts produce when addressing climate change, extinction, and other environmental emergencies? What happens to scientific data when it becomes art? In Infowhelm, Heather Houser explores the ways contemporary art manages environmental knowledge in an age of climate crisis and information overload. Houser argues that the infowhelm-a state of abundant yet contested scientific information-is an unexpectedly resonant resource for environmental artists seeking to go beyond communicating stories about crises. Infowhelm analyzes how artists transform the techniques of the sciences into aesthetic material, repurposing data on everything from butterfly migration to oil spills and experimenting with data collection, classification, and remote sensing. Houser traces how artists ranging from novelist Barbara Kingsolver to digital memorialist Maya Lin rework knowledge traditions native to the sciences, entangling data with embodiment, quantification with speculation, precision with ambiguity, and observation with feeling. Their works provide new ways of understanding environmental change while also questioning traditional distinctions between types of knowledge. Bridging the environmental humanities, digital media studies, and science and technology studies, this timely book reveals the importance of artistic medium and form to understanding environmental issues and challenges our assumptions about how people arrive at and respond to environmental knowledge.
(source: Nielsen Book Data)

• Introduction Part I: What Made Art Modern
• 1. Hamlet, or Art against Itself
• 2. Michelangelo, or the Labors of Freedom
• 3. Don Quixote, or the Weakness of Fiction Part II: What Makes Modern Art
• 4. The Inward Turn
• 5. The Legend of Freedom
• 6. The Legend of the Artist
• 7. The Legend of the New
• 8. The Legend of Creativity
• 9. The Legend of Artistic Block
• 10. The Legend of Transcendence
• 11. The Legend of Subversion
• 12. The Legend of the End of Art Coda Notes Bibliography Index.
• (source: Nielsen Book Data)

What made art modern? What is modern art? The Legends of the Modern demystifies the ideas and "legends" that have shaped our appreciation of modern art and literature. Beginning with an examination of the early modern artists Shakespeare, Michelangelo, and Cervantes, Didier Maleuvre demonstrates how many of the foundational works of modern culture were born not from the legendry of expressive freedom, originality, creativity, subversion, or spiritual profundity but out of unease with these ideas. This ambivalence toward the modern has lain at the heart of artistic modernity from the late Renaissance onward, and the arts have since then shown both exhilaration and disappointment with their own creative power. The Legends of the Modern lays bare the many contradictions that pull at the fabric of modernity and demonstrates that modern art's dissatisfaction with modernity is in fact a vital facet of this cultural period.
(source: Nielsen Book Data)

• Seine Augen tranken alles, was in seinen Sehkreis kam
• Die Anfänge im Rheinland
• Die Erfindung von Dada und wie daraus eine Kunstbewegung wurde
• Neues Leben und malerischer Aufbruch : der Surrealismus
• Die quirlige Metropole New York und die Einsamkeit von Sedona in Arizona
• Frankreich und Europa : ein später Siegeszug
• Exkurse
• Die Erfindung des Surrealismus in der Malerei
• Die Collage als "Schlüsseltechnik" des Surrealismus
• Das neue Medium "Film"
• Das Max Ernst Museum in Brühl
• Glossar
• Literatur
• Impressum

• Preface Acknowledgements Notes on Contributors Hercules, the Modern Man: an Introduction Alastair Blanshard and Emma Stafford
• Part 1: The Hero in Literature, Art and Politics
• Part 1.1: Nineteenth- to Twenty-first-century Literature
• 1 Hercules among the Germans Will Desmond
• 2 Hercules among the Tractarians: Typological Reading in Isaac Williams' The Christian Scholar Clemence Schultze
• 3 'And maybe in your case there wouldn't be a Herakles...': Herakles in C.P. Cavafy and Yiannis Ritsos Charilaos N. Michalopoulos
• 4 'The mirror of Greek myth': James McAuley's The Hero and the Hydra Rachael White
• 5 Agatha Christie's Twelve Labours of Hercules Hugo Koning
• 6 Hercules as Romantic Hero in Twenty-first-century Historical Fiction Eleanor OKell
• Part 1.2: A Hero for Children?
• 7 Hercules in Children's Literature: a 'warts and all' Model of Masculinity? Owen Hodkinson
• 8 Demigod, God or Monster? Rick Riordan's Hercules Frances Foster
• 9 The Incredible Hercules Hugo Koning
• Part 1.3: Political Discourse
• 10 Whose Hero? Hercules and His Avatars in Political Discourse Paula James
• 11 Reimagining Herakles: a Supporter of Greek Revolution and a Defender of the Greek Crown Maria Xanthou and Kleoniki Kyrkopoulou
• 12 '
• ' ['Herakles got his club']: the Reception of Herakles in the Modern Greek Press Andreas N. Michalopoulos
• 13 A Coruna, Cidade Herculina: Hercules as Founder of Cities Maria Seijo-Richart
• 14 Exhibiting Maguire's Herakles: a Dialogue between Old and New Worlds Emma Stafford
• Part 2: From Image to Screen
• Part 2.1: Modes of Reception
• 15 Herakles on Chesil Bank: the Archers' Disavowable Classicism and The Small Back Room (1949) Stephe Harrop
• 16 'The muscles of Hercules beneath the skin of Antinous': Mapping Herculean Stardom in Film Fan-magazine Discourse Michael Williams
• 17 Hercules 'Down Under': Antipodean Experiences of the Hero's Machismo Matthew Dillon
• Part 2.2: For the Younger Viewer
• 18 The Mighty Hercules Cartoon Series in Conversation with Steve Reeve's Hercules, Super-hero Comics and 1960s Societal Concerns Arlene Allan
• 19 Asterix as the New Hercules: The Twelve Tasks of Asterix (1976) Eran Almagor
• 20 Disney's Hercules in Context: Mouse-morality for Mini-heroes Lisa Maurice
• 21 A Real American Hero: the Superhero-ification of Disney's Hercules Sam Summers
• 22 The Convergence of Family Values, Computer-Generated Monsters, and Cleavage in Hercules: The Legendary Journeys Jon Solomon
• Part 2.3: Millenial Concerns
• 23 The Labours of Hercules-Sama Ayelet Peer
• 24 Hercules' Self-fashioning on Screen Millennial Concerns and Political Dimensions Jean Alvares and Patricia Salzman-Mitchell
• 25 'Through a glass, partly' Reflections of Hercules in Video Games: the Mythodiegesis of Depictions of Hercules in Video Games, and Their Groundings in Medium and Textual Requirements and Contexts Alix Beaumont
• Part 2.4: From Graphic Novel to Blockbuster Film
• 26 'I am Hercules!': Rebooting, Rationalization and Heroism in 2014 Joel Gordon
• 27 Warriors, Murderers, Savages: Violence in Steve Moore's Hercules: The Thracian Wars Katherine Lu Hsu
• 28 Sex and Gender, Race and Orientalism in Steve Moore's Hercules Comics T. H. M. Gellar-Goad
• 29 How the Rock became Rockules: Dwayne Johnson's Star Text in Hercules(2014) Monica Cyrino Index.
• (source: Nielsen Book Data)

The Modern Hercules explores the reception of the ancient Greek hero Herakles - the Roman Hercules - in western culture from the nineteenth century to the present day. Each chapter considers a particular work or theme in detail, exploring this complex hero's transformations of identity and significance in a wide range of modern media, including literature, visual arts and film. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero's perennial appeal.
(source: Nielsen Book Data)

• Introduction : What Is a New Model? / Maria Lind and Lars Bang Larsen
• Den nya modellen / Palle Nielsen
• The Model, Action Dialogue and a Conversation over Time / Gunilla Lundahl
• The Model and the City : A Seminar on Palle Nielsen's project The Model (Moderna Museet, 1968) and Tensta
• The Society without Qualities / Lars Bang Larsen
• This Place Is Every Place / by Ane Hjort Guttu
• School Section / by Dave Hullfish Bailey
• The Miracle in Tensta(Theoria) / by Magnus Bärtås
• Liquidity Inc. / by Hito Steyerl
• Interview with Gunilla Lundahl / Lars Bang Larsen and Maria Lind
• Counterflows, Affinities and Fragments : Revisiting Histories as Possibilities / Jessica Gogan
• Palle Nielsen in the Singular Plural : Foray into an Authorship, 1965-78 / Lars Bang Larsen

• First we survey, then we dig! / Diane Mullin
• Szyhalski and sound / Michael Gallope
• Pay attention! a conversation on teaching and performance with Piotr Szyhalski / Emily Capper

The first comprehensive study of this innovative and interactive multimedia artist The artistic practice of Piotr Szyhalski encompasses an impressive array of media and genres: from poster design to experimental music, from interactive web-based art to large-scale conceptual installations, from public performance to innovative pedagogy. His commitment to viewer engagement with art and meaning making characterizes all of his work, which constantly strives to advance the multiplicities and complexities of our understandings. "We Are Working All the Time!" he proclaims, both in his graphic design and in his thematic approach to interactive art. Born and trained in Poland, Szyhalski is a vital presence in the Twin Cities. A professor of design and new media art at the Minneapolis College of Art and Design and a codirector of Art(ists) On the Verge, his art and performance push boundaries, embrace contradictions, and welcome participation. This midcareer survey of the work of this iconoclastic visual artist accompanies an exhibition of his art at the Weisman Art Museum in 2020. Contributors: Karine Leonard Brouillet, Montreal Museum of Fine Art; Emily Ruth Capper, U of Minnesota; Steve Dietz, Northern Lights.mn; Theresa Downing, U of Minnesota; Michael Gallope, U of Minnesota.
(source: Nielsen Book Data)

• List of Illustrations Introduction. Toward a Theory of Parasitical Resistance Interlude. Thresholds of Accommodation Part I. Redistribution: Institutional Interventions
• 1. User Be Used: Leveraging the Coercive Hospitality of Corporate Platforms
• 2. An Opening Structure: Nuria Guell and Kenneth Pietrobono's Legal Loopholes Part II. Imposition: Intimate Interventions
• 3. Hangers-On: Chris Kraus's Parasitical Feminism
• 4. A Seat at the Table: Feminist Performance Art's Institutional Absorption and Parasitical Legacies Coda. It's Not You, It's Me: Roisin Byrne and the Parasite's Shifting Ethics and Politics Acknowledgments Notes Bibliography Index.
• (source: Nielsen Book Data)

What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism-tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins-from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus-have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.
(source: Nielsen Book Data)

The present state of environmental crisis is not an accident of history, but rather the result of a war waged along social, techni-cal, and mental lines-a war against future generations. Climate change is the symptom of the eradication of alternative perspectives on what it means to live and to coexist.It is the consequence of a single, pathological mode of existence dominating all others. Which ecologies sup-port this state of things, and which ecologies can resist it? Which conditions produce non-exploitative relationships between hu-mans and other beings, between those who are here, those who have gone, and those yet to come? The intergenerational per-spective is at the heart of all such questions. The inaugural Sharjah Architecture Triennial, titled Rights of Fu-ture Generations, includes commissioned works by architects, artists, activists, choreographers, and scientists examining sites of resistance, struggle, emancipation, and experimentation. The twenty-seven essays featured in Conditions-the first of two volumes published in conjunction with the Triennial-chronicle some of these sites. From spiritual geographies of trade in the Indian Ocean, to the unwritten transmission of land title in the Ganges Delta, this is a book about architecture's fundamental role in imagining other forms of coexistence.
(source: Nielsen Book Data)

• Le précurseur : rousseau au centre du monde
• "Le premier homme qui tenta de philosopher"
• L'espace public, une arène moderne
• La marche au supplice
• La révolution romantique
• L'idéalisme sacrificiel
• Le fondement poétique selon Hölderlin
• Un autre romantisme possible ?
• La société des persécuteurs
• Le désir d'hostilité
• Sociologie de l'artiste souffre-douleur
• Le mythe de la haine bourgeoise
• Portrait de Gustave Courbet en romantique exalté
• Portrait d'Émile Zola en redresseur de torts
• Charles Baudelaire, métaphysicien du sacrifice
• Lectures de Baudelaire
• Le fruit d'un "amer savoir"
• Les leçons de Joseph de Maistre et Edgar Poe
• Modernité et décrépitude
• La sainteté de Richard Wagner
• Les illusions fécondes
• Le mouvement perpétuel des avant-gardes
• La poésie d'action ou rien
• L'unique qui ne peut pas être un autre
• Généalogie des uniques
• Les isolés
• "Tout chef-d'oeuvre est le fruit d'un martyre"
• Un officiant de l'art moderne : Rainer Maria Rilke
• Violence de l'expression et cruauté du regard
• Le retour du grand pan
• Le dionysiaque dans les lettres
• La vie, la mort, le flux
• Structure psychotique et structure sacrificielle
• Conclusion - le sacre du printemps.

"Depuis la révolution romantique jusqu'au triomphe des avant-gardes, la part la plus éminente de la création artistique et littéraire a été portée par un élan proprement religieux. L'oeuvre d'art a pu être assimilée à une révélation de la vérité transcendante et son créateur à un visionnaire ouvrant les portes de l'avenir. Mais considérer l'artiste comme un prophète et son oeuvre comme un dévoilement, n'était-ce pas parer une culture déjà sécularisée des atours illusoires d'un surnaturel voué à s'éclipser ? Au terme du processus de désenchantement, le culte romantique de l'art risque d'apparaître comme une ultime péripétie dans la sortie de la religion, la boucle d'un dernier assouvissement de spiritualité avant la plongée dans un monde de part en part rationalisable, l'adieu sans retour possible au désir d'absolu. Cette interprétation de l'art moderne comme succédané du religieux n'est pas fausse sans doute, mais, à ne voir ici qu'un effet de substitution, on passe à côté de la dimension essentielle du phénomène qui, pour être perçue, oblige à saisir dans une même perspective la sphère de l'art et la question de la violence émissaire - question dont on sait qu'elle n'est pas sans rapport avec la production du sacré. Si la part la plus éminente de la création moderne tendit à échapper au monde profane, ce n'est pas seulement qu'un voeu pieux en a décidé ainsi, c'est aussi et surtout que la sphère de l'art s'est coulée dans la matrice dont est toujours sortie l'instance sacrée."--Page 4 of cover.

• Acknowledgements List of Figures Abbreviations Preamble - Walking Exercise #1 Prologue - A Memory Palace for the Medium of Walking
• Chapter 1 - Walking: A Distinct Artistic Medium
• Chapter 2 - A Romantic Drift through the History of Walking Interlude - Walking Exercise #2
• Chapter 3 - Artistic Foundations for Walking Networks
• Chapter 4 - The Walking Artists Network: Digital Paths to Analogue Practice
• Chapter 5 - Deveron Projects: The Walking Institute Interlude - Walking Exercise #3
• Chapter 6 - Walk, Study and Exchange Finale - Walking Exercise #4
• Chapter 7 - Conclusion: The Medium is the Memory (Palace) Epilogue - Walking Exercise #5 Bibliography.
• (source: Nielsen Book Data)

Since the early 2000s there has been an increase in artists who are walking as an essential part of their artistic practice. This book identifies the unique attributes of walking to develop a definition for walking as an artistic medium. Drawing on historical sources, such as the walks of the Romantic poets, Dadaists and Letterist/Situationist Internationals, it presents a practice based approach to walking focused on the radical memory of the medium. The book covers three contemporary organisations working to develop the artistic medium of walking-London's Walking Artists Network, Scotland's Walking Institute and New York City's Walk Exchange-and looks at how these different organisation's strategies contribute to the development of the artistic medium of walking. The book is framed by five walking exercises, and invites the reader to create a memory palace for the medium of walking as a practical exploration of artistic walking practices.
(source: Nielsen Book Data)