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The term, "intuition," while commonly used by artists has been somewhat marginalized within art theory and criticism. Whether sensed as a gut feeling or a flash of insight, intuition is central to processes of "coming to know" in aesthetic practice and experience. Many artists habitually rely on extra-rational means of understanding, either in the form of everyday instinct or uncanny cognition. A delicate balance, though, exists between clairvoyance and fantasy, foreknowledge and wishful thinking. Technologies of Intuition demonstrates how artistic sensitivity requires disciplined and cultivated perception. Set in continuity with the compelling history of the Spiritualist Movement and emancipatory feminism, this anthology elucidates intuitive agency as a psychic, somatic and social technology in the fine arts and popular culture.
This book is intended for applications of online digital mapping, called mashups (or composite application), and to analyze the mapping practices in online socio-technical controversies. The hypothesis put forward is that the ability to create an online map accompanies the formation of online audience and provides support for a position in a debate on the Web. The first part provides a study of the map: - a combination of map and statistical reason - crosses between map theories and CIS theories - recent developments in scanning the map, from Geographic Information Systems (GIS) to Web map. The second part is based on a corpus of twenty "mashup" maps, and offers a techno-semiotic analysis hi...
While the crisis that took place in photojournalism during the 1960's brought about a significant shift in the practices, discourses and institutional structures of press photography, it also affected the practices of artists, specifically with regard to work devoted to revitalizing the depiction of events. The art world attempted to revitalize the historical genre by undertaking its critical rereading, in the spirit of restoring a tradition diminished by the mass media. The problem may be expressed in these terms: How can history be depicted, bearing in mind that the media (mainly photojournalism and the electronic press) have claimed a monopoly of the genre unto themselves? At issue is the...
"This publication contains photographic documentation of Ron Benner's numerous garden projects, previously published material, and newly commissioned essays that explore the evolution of his garden works. It features texts by authors from diverse backgrounds and areas of expertise including genetics, cultural geography and social anthropology among others, bringing into focus a clearer and more inclusive understanding of Benner's art and practice."--BOOK JACKET.
Winner of the Gabrielle Roy Prize for the Best Critical Work, 1987. The Dialogue Conference at York University provided an opportunity for a number of scholars to bring a feminist perspective to women's writing in Québec and English Canada. The essays in this volume explore women as readers and writers; the collection concludes with the first extensive bibliography of feminist criticism about Canadian and Québec literature, much of which is drawn from unindexed sources.
Exhibiting Craft and Design: Transgressing the White Cube Paradigm investigates the firmly-established manner in which craft and design have typically been presented by museums and galleries, what strategies curators have employed throughout the twentieth century, and especially in more recent years how exhibiting design and craft objects challenges the notion of the modernist White Cube display paradigm.
A revision and complete updating of the editors' previous bibliography of Canadian theatre history and its supplement, this volume contains more than 8,000 new entries. Topically arranged, with author and keyword indexes it includes contributions from Patrick O'Neill, Jean Cléo Godin, Leonard Doucette, David Gardner, Anton Wagner, and Malcolm Page.