" ... provides both a topical and chronological approach to the humanities. Part I, "The Media of the Arts," offers independent chapters on two dimensional art (drawing, painting, printmaking, and photography), sculpture, architecture, music, literature, theatre, cinema, and dance. Part II, "The Styles of the Arts," is a chronological history of the arts of Africa, the Americas, Asia, Europe, and the Middle East, organized by artistic discipline and focusing on styles rather than encyclopedic detail."--Publisher.
This work provides an introduction to the history of art, Western as well as non-Western. The first part presents the available media and how each works. The second part traces a history of various artistic styles to demonstrate how artists have used those media to portray human reality.
A look at how Big Data can be put to positive use, from helping users break bad habits to tracking the global spread of disease. Big Data is made up of lots of little data: numbers entered into cell phones, addresses entered into GPS devices, visits to websites, online purchases, ATM transactions, and any other activity that leaves a digital trail. Although the abuse of Big Data—surveillance, spying, hacking—has made headlines, it shouldn't overshadow the abundant positive applications of Big Data. In Reality Mining, Nathan Eagle and Kate Greene cut through the hype and the headlines to explore the positive potential of Big Data, showing the ways in which the analysis of Big Data (“Reality Mining”) can be used to improve human systems as varied as political polling and disease tracking, while considering user privacy. Eagle, a recognized expert in the field, and Greene, an experienced technology journalist, describe Reality Mining at five different levels: the individual, the neighborhood and organization, the city, the nation, and the world. For each level, they first offer a nontechnical explanation of data collection methods and then describe applications and systems that have been or could be built. These include a mobile app that helps smokers quit smoking; a workplace “knowledge system”; the use of GPS, Wi-Fi, and mobile phone data to manage and predict traffic flows; and the analysis of social media to track the spread of disease. Eagle and Greene argue that Big Data, used respectfully and responsibly, can help people live better, healthier, and happier lives.
Will, Imagination, and Reason sets forth a new understanding of reality and knowledge with far-reaching implications for the study of man and society. Employing a systematic approach, Claes Ryn goes to the philosophical depths to rethink and reconstitute the epistemology of the humanities and social sciences. He shows that will and imagination, together, constitute our basic outlook on life and that reason derives its material and general orientation from the interaction between them. The imaginative master-minds novelists, poets, composers, painters, and others powerfully affect the sensibility and direction of society. Sometimes a distorting, self-serving willfulness at the base of their visions draws civilization, including reason, into dangerous illusion. More penetrating and balanced vision and rationality spring from a different quality of will. Ryn explains the kind of interplay between will, imagination, and reason that is conducive to a deepened sense of reality and to intellectual understanding. He argues that human life and self-knowledge are inescapably historical. In developing his dialectical view of intellect, he draws from Irving Babbitt, Benedetto Croce, and other philosophers to refute positivistic, formalistic, and ahistorical theories of knowledge and to develop his alternative. Advancing a systematic epistemological argument, Ryn throws much new light on the nature of reason but also on central issues of ethics and aesthetics. This trenchant and original work is indispensable to philosophers, social, political and cultural theorists, literary scholars, and historians.
Renowned scholar George Steiner explores the power and presence of the unseen in art. “It takes someone of [his] stature to tackle this theme head-on” (The New York Times). There is a philosophical school of thought that believes the presence of God in art, literature, and music—in creativity in general—is a vacant metaphor, an eroded figure of speech, a ghost in humanity’s common parlance. George Steiner posits the opposite—that any coherent understanding of language and art, any capacity to communicate meaning and feeling, is premised on God. In doing so, he argues against the kind of criticism that obscures, instead of elucidates, meaning. From the power of language to vital philosophical tenets, Real Presences examines the role of meaning and of the spiritual in art throughout history and across cultures.
From the ancient texts and medieval illuminated manuscripts to 20th century poetry, painting, drama, stories, and novels, Irish writers and artists have found the fantastic not only congenial but necessary to their art. This collection of fifteen essays focuses on the fantastic in Irish literature and the arts, showing how the use of the fantastic mode has allowed Irish writers and artists to express ideas, emotions, and insights not available through the direct imitation of everyday reality. The works of Yeats, Field, Shelley, Synge, Beckett, Swift, Coleridge, and others are examined in incisive chapters written from the point of view of the fantastic.
Drawing on detailed design, construction and financial histories of six prominent Performing Arts buildings with budgets ranging from £3.4 million to over £100 million, Geometry and Atmosphere presents unique and valuable insights into the complex process of building for the arts. Each theatre project, from tailor-made spaces for avant-garde companies to iconic and innovative receiving houses, yields surprising and counter-intuitive findings. For each of the six projects, the authors have interviewed all those involved. Combining these interviews with exhaustive archival research, the authors then provide cross-case analysis which is distilled into guidance for all stakeholders as they transform their initial vision into built reality. In particular, the book challenges the technical focus of existing design guides for the Performing Arts by suggesting that current practice in briefing and design does not serve the Arts community especially well. It shows that there is a need for an approach in which the focus is firmly rooted in the delivery of the driving artistic vision. As well as being of interest to architects, urban designers and those involved in theatre studies, this book will be useful to other sectors where public money is spent on major building projects.
This book explores technologies related to bodily interaction and creativity from a multi-disciplinary perspective. By taking such an approach, the collection offers a comprehensive view of digital technology research that both extends our notions of the body and creativity through a digital lens, and informs of the role of technology in practices central to the arts and humanities. Crucially, Digital Bodies foregrounds creativity, the interrogation of technologies and the notion of embodiment within the various disciplines of art, design, performance and social science. In doing so, it explores a potential or virtual new sense of the embodied self. This book will appeal to academics, practitioners and those with an interest in not only how digital technologies affect the body, but also how they can enhance human creativity.