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The book is the first full-length study of the seminal exhibition "A New Spirit in Painting," which took place at the Royal Academy of Arts, London in 1981. The exhibition has been overlooked in the literature about contemporary art. The book aims to correct this omission by showing how the exhibition captured issues that brought together several key trajectories in the history of painting, which are still reverberating today. It starts in the context of the contemporary developments in art spanning from the 1950s to the 1970s and reassesses the art historical significance of "A New Spirit in Painting." The essay is accompanied by a series of interviews the author conducted with artists, curators and gallerists who were, more or less directly, linked to the exhibition (Georg Baselitz, Markus Lüpertz, Rainer Fetting, Norman Rosenthal, Jean-Louis Froment, Tim Marlow, Michael Werner, Thaddaeus Ropac)
This book discusses slow cinema, a contemporary global production trend that has recently gained momentum in film theory and criticism. Slow films dispense with narrative progression in favour of a contemplative mood, which is stretched out to the extreme in order to impel viewers to confront cinematic temporality in all its undivided glory. Despite its critical reputation as an oblique mode of film practice, slow cinema continues to attract, challenge and provoke audiences. Focusing on filmmakers Béla Tarr, Tsai Ming-liang and Nuri Bilge Ceylan, this book identifies nostalgia, absurd humour and boredom as intrinsic dimensions of slow cinema and explores the ways in which these directors negotiate local filmmaking conventions with the demands of a global cinephile niche. As the first study to treat slow cinema both as an aesthetic style and as an institutional discourse, Poetics of Slow Cinema offers an illuminating perspective on the tradition’s historical genealogy and envisions it with a Janus-faced disposition in the age of digital technologies—lamenting at once the passing of difficult, ambiguous modernist film and capitalizing on the yearning for its absence.
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Prior to 1862, when the Department of Agriculture was established, the report on agriculture was prepared and published by the Commissioner of Patents, and forms volume or part of volume, of his annual reports, the first being that of 1840. Cf. Checklist of public documents ... Washington, 1895, p. 148.
Internationally recognised researchers look at developing trends in combinatorics with applications in the study of words and in symbolic dynamics. They explain the important concepts, providing a clear exposition of some recent results, and emphasise the emerging connections between these different fields. Topics include combinatorics on words, pattern avoidance, graph theory, tilings and theory of computation, multidimensional subshifts, discrete dynamical systems, ergodic theory, numeration systems, dynamical arithmetics, automata theory and synchronised words, analytic combinatorics, continued fractions and probabilistic models. Each topic is presented in a way that links it to the main themes, but then they are also extended to repetitions in words, similarity relations, cellular automata, friezes and Dynkin diagrams. The book will appeal to graduate students, research mathematicians and computer scientists working in combinatorics, theory of computation, number theory, symbolic dynamics, tilings and stringology. It will also interest biologists using text algorithms.
This Handbook discusses representative philosophers in the history of the philosophy of law and social philosophy, giving clear concise expert definitions and explanations of key personalities and their ideas. It provides an essential reference for experts and newcomers alike.
This book examines the structuring of space in Romanian and Hungarian cinema, and particularly how space is used to express the deep imprint of a socialist past on a post-socialist present. It considers this legacy of the Eastern European socialist regimes by interrogating the suffocating, tyrannical and enclosing structures that are presented in film. By tracing such paradigmatic models as horizontal and vertical enclosure, this book aims to show how enclosed spatial structuring restages the post-socialist era to produce an implicit and collective form of remembrance. While closely scrutinizing the interplay of location and image, Space in Romanian and Hungarian Cinema offers a new approach to the cinema of the region, which unites the filmic productions under a defined, post-socialist Eastern European spatial umbrella. By simultaneously portraying the gloom of a socialist past, while also conveying a sense of longing for a pre-capitalist era, these films convey how sense of unity and also ambivalence is a defining hallmark of Eastern European cinema.
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