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The willingness to believe in some kind of payback or karma remains nearly universal. Retribution awaits those who commit bad deeds; rewards await those who do good. Johnson explores how this belief has developed over time, and how it has shaped the course of human evolution.
Adrian Howells (1962-2014) was one of the world's leading figures in the field of one-to-one performance practice--the act of staging an event for one audience participant at a time. Developed over more than a decade, Howells's award-winning work demonstrated not only his enduring commitment to this genre of performance, but also his determination to find new challenges and innovations in performance art, "intimate theatre," and socially engaged art. It's All Allowed, edited by Deirdre Heddon and Dominic Johnson, is the first book devoted to Howells's remarkable achievements and legacy. Contributors here testify to the methodological, thematic, and historiographical challenges posed by Howells' performances. Citing his permissive mantra as its title, It's All Allowed includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together reveal new insight into Howells's groundbreaking process.
How do people decide which country came out ahead in a war or a crisis? Why, for instance, was the Mayaguez Incident in May 1975--where 41 U.S. soldiers were killed and dozens more wounded in a botched hostage rescue mission--perceived as a triumph and the 1992-94 U.S. humanitarian intervention in Somalia, which saved thousands of lives, viewed as a disaster? In Failing to Win, Dominic Johnson and Dominic Tierney dissect the psychological factors that predispose leaders, media, and the public to perceive outcomes as victories or defeats--often creating wide gaps between perceptions and reality. To make their case, Johnson and Tierney employ two frameworks: "Scorekeeping," which focuses on ac...
Opponents rarely go to war without thinking they can win--and clearly, one side must be wrong. This conundrum lies at the heart of the so-called "war puzzle": rational states should agree on their differences in power and thus not fight. But as Dominic Johnson argues in Overconfidence and War, states are no more rational than people, who are susceptible to exaggerated ideas of their own virtue, of their ability to control events, and of the future. By looking at this bias--called "positive illusions"--as it figures in evolutionary biology, psychology, and the politics of international conflict, this book offers compelling insights into why states wage war. Johnson traces the effects of posit...
"A very timely book."—Anne-Marie Slaughter, CEO of New America How cognitive biases can guide good decision making in politics and international relations A widespread assumption in political science and international relations is that cognitive biases—quirks of the brain we all share as human beings—are detrimental and responsible for policy failures, disasters, and wars. In Strategic Instincts, Dominic Johnson challenges this assumption, explaining that these nonrational behaviors can actually support favorable results in international politics and contribute to political and strategic success. By studying past examples, he considers the ways that cognitive biases act as “strategic...
Across a series of 12 in-depth interviews with a diverse range of major artists, Dominic Johnson presents a new oral history of performance art. From uses of body modification and physical extremity, to the creation of all-encompassing personae, to performance pieces lasting months or years, these artists have provoked and explored the vital limits between art and life. Their discussions with Johnson give us a glimpse of their artistic motivations, preoccupations, processes, and contexts. Despite the diversity of art forms and experiences featured, common threads weave between the interviews: love, friendship, commitment, death and survival. Each interview is preceded by an overview of the artist's work, and the volume itself is introduced by a thoughtful critical essay on performance art and oral history. The conversational tone of the interviews renders complex ideas and theoretical propositions accessible, making this an ideal book for students of theatre and performance, as well as for artists, scholars and general readers.
Glorious Catastrophe presents a detailed critical analysis of the work of Jack Smith from the early 1960s until his AIDS-related death in 1989. Dominic Johnson argues that Smith's work offers critical strategies for rethinking art's histories after 1960. Heralded by peers as well as later generations of artists, Smith is an icon of the New York avant-garde. Nevertheless, he is conspicuously absent from dominant histories of American culture in the 1960s, as well as from narratives of the impact that decade would have on coming years. Smith poses uncomfortable challenges to cultural criticism and historical analysis, which Glorious Catastrophe seeks to uncover. The first critical analysis of Smith's practices across visual art, film, performance, and writing, the study employs extensive, original archival research carried out in Smith's personal papers, and unpublished interviews with friends and collaborators. It will be essential reading for students and scholars interested in the life and art of Jack Smith, and the greater histories that he interrupts, including those of experimental arts practices, and the development of sexual cultures.
The Changing Character of War unites scholars from the disciplines of history, politics, law, and philosophy to ask in what ways the character of war today has changed from war in the past, and how the wars of today differ from each other. It discusses who fights, why they fight, and how they fight.
Britain is at a cross-roads; from the economy, to the education system, to social mobility, Britain must learn the rules of the 21st century, or face a slide into mediocrity. Brittania Unchained travels around the world, exploring the nations that are triumphing in this new age, seeking lessons Britain must implement to carve out a bright future.
Live Art is a contested category, not least because of the historical, disciplinary and institutional ambiguities that the term often tends to conceal. Live Art can be usefully defined as a peculiarly British variation on particular legacies of cultural experimentation – a historically and culturally contingent translation of categories including body art, performance art, time-based art, and endurance art. The recent social and cultural history of the UK has involved specific factors that have crucially influenced the development of Live Art since the late 1970s. These have included issues in national cultural politics relating to sexuality, gender, disability, technology, and cultural po...