What begins as a meditation on "the museum" by one of the world's leading art historians becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex argument remarkably accessible and powerfully clear. Concentrating on a period from the beginning of the nineteenth century to the beginning of the twentieth, Donald Preziosi presents case studies of major institutions that, he argues, have defined--and are still defining--the possible limits of museological and art historical theory and practice. These include Sir John Soane's Museum in London, preserved in its 1837 state; the Crystal Palace Exhibition of 1851; and four museums founded by Europeans in Egypt in the late nineteenth century, which divided up that country's history into "ethnically marked" aesthetic hierarchies and genealogies that accorded with Europe's construction of itself as the present of the world's past, and the "brain of the earth's body." Through this epistemological and institutional archaeology, Preziosi unearths the outlines of the more radical Enlightenment project that academic art history, professional museology, and art criticism have rendered marginal or invisible. Finally, he sketches a new theory about art, artifice, and visual signification in the cracks and around the margins of the "secular theologisms" of the globalized imperial capital called modernity. Addressed equally to the theoretical and philosophical foundations of art history,museology, history, and anthropology, this book goes to the heart of recent debates about race, ethnicity, nationality, colonialism, and multiculturalisms--and to the very foundations of modernity and modern modes of knowledge production.
The solution for chronic inflammation, regarded as the cause of the most common modern diseases, has been identified! Earthing introduces the planet's powerful, amazing, and overlooked natural healing energy and how people anywhere can readily connect to it. This never-before-told story, filled with fascinating research and real-life testimonials, chronicles a discovery with the potential to create a global health revolution.
Our Biological World A Comprehensive Guide to Environmental Science "Our Biological World" is a comprehensive Environmental Science guide, providing a thorough understanding of fundamental concepts, principles, and theories. This essential resource features clear, concise language, logical chapter organization, chapter summaries, review questions, and self-assessment exercises to support learning and clarity. Additionally, it includes a glossary of key terms and concepts, up-to-date research and policies, and diverse viewpoints, including indigenous knowledge. Key features include comprehensive coverage of Environmental Science, logical organization, and cutting-edge information, making it an ideal resource for students, educators, and professionals. Get Your Copy Today! Deepen your understanding of our biological world.
Earth's Dragons is the continuing saga and greatly anticipated second sequel of the award winning book, Earth is Ours, Best Fantasy/SciFi 2005 from the prestigious San Diego Book Awards Association. The first sequel, Target Earth, placed Finalist in the same awards for 2006. The beloved characters developed in the original story evolve and begin an exciting new adventure in the sequel. In Earth's Dragons the characters evolve yet again and embark on a new adventure and finale of the series as they continue to defy monstrous, invading aliens dedicated to the total destruction of the human race. The male versus female conflict of minds, emotions and motivations remain a large portion of the story as it unfolds from both viewpoints. The struggle continues against formidable invaders led by an awe inspiring supreme leader. In this fast paced and compelling adventure, battles wage across the California and Arizona deserts.
A thrilling tale of encounters with nature’s masters of biochemistry From the coasts of Indonesia to the rainforests of Peru, venomous animals are everywhere—and often lurking out of sight. Humans have feared them for centuries, long considering them the assassins and pariahs of the natural world. Now, in Venomous, the biologist Christie Wilcox investigates and illuminates the animals of our nightmares, arguing that they hold the keys to a deeper understanding of evolution, adaptation, and immunity. She reveals just how venoms function and what they do to the human body. With Wilcox as our guide, we encounter a jellyfish with tentacles covered in stinging cells that can kill humans in minutes; a two-inch caterpillar with toxic bristles that trigger hemorrhaging; and a stunning blue-ringed octopus capable of inducing total paralysis. How do these animals go about their deadly work? How did they develop such intricate, potent toxins? Wilcox takes us around the world and down to the cellular level to find out. Throughout her journey, Wilcox meets the intrepid scientists who risk their lives studying these lethal beasts, as well as “self-immunizers” who deliberately expose themselves to snakebites. Along the way, she puts her own life on the line, narrowly avoiding being envenomated herself. Drawing on her own research, Wilcox explains how venom scientists are untangling the mechanisms of some of our most devastating diseases, and reports on pharmacologists who are already exploiting venoms to produce lifesaving drugs. We discover that venomous creatures are in fact keystone species that play crucial roles in their ecosystems and ours—and for this alone, they ought to be protected and appreciated. Thrilling and surprising at every turn, Venomous will change everything you thought you knew about the planet’s most dangerous animals.
Earth s Ascension, Nibiru and the Spirit Realm The Ascension what is it? Where are we in the process? What is the Event? Nibiru does it exist? How is it going to affect the earth? What earth changes, physical, economic, governmental and environmental are coming? What changes are occurring in our human bodies, DNA, consciousness and culture? What is our role in the Ascension process? After years of scientific and metaphysical research, study of meditation and personal spiritual experiences, the author gives possible/potential answers to these questions. Being more informed, the reader can feel empowered, confident and peaceful as earths and personal ascension in consciousness occur.
Museum and Gallery Publishing examines the theory and practice of general and scholarly publishing associated with museum and art gallery collections. Focusing on the production and reception of these texts, the book explains the relevance of publishing to the cultural, commercial and social contexts of collections and their institutions. Combining theory with case studies from around the world, Sarah Anne Hughes explores how, why and to what effect museums and galleries publish books. Covering a broad range of publishing formats and organisations, including heritage sites, libraries and temporary exhibitions, the book argues that the production and consumption of printed media within the context of collecting institutions occupies a unique and privileged role in the creation and communication of knowledge. Acknowledging that books offer functions beyond communication, Hughes argues that this places books published by museums in a unique relationship to institutions, with staff acting as producers and visitors as consumers.The logistical and ethical dimensions of museum and gallery publishing are also examined in depth, including consideration of issues such as production, the impact of digital technologies, funding and sponsorship, marketing, co-publishing, rights, and curators’ and artists’ agency. Focusing on an important but hitherto neglected topic, Museum and Gallery Publishing is key reading for researchers in the fields of museum, heritage, art and publishing studies. It will also be of interest to curators and other practitioners working in museums, heritage and science centres and art galleries.
Amongst recent contemporary art and museological publications, there have been relatively few which direct attention to the distinct contributions that twentieth and twenty-first century artists have made to gallery and museum interpretation practices. There are fewer still that recognise the pedagogic potential of interventionist artworks in galleries and museums. This book fills that gap and demonstrates how artists have been making curious but, none-the-less, useful contributions to museum education and curation for some time. Claire Robins investigates in depth the phenomenon of artists' interventions in museums and examines their pedagogic implications. She also brings to light and seeks to resolve many of the contradictions surrounding artists' interventions, where on the one hand contemporary artists have been accused of alienating audiences and, on the other, appear to have played a significant role in orchestrating positive developments to the way that learning is defined and configured in museums. She examines the disruptive and parodic strategies that artists have employed, and argues for that they can be understood as part of a move to re-establish the museum as a discursive forum. This valuable book will be essential reading for students and scholars of museum studies, as well as art and cultural studies.
What is art history? Why, how and where did it originate, and how have its aims and methods changed over time? The history of art has been written and rewritten since classical antiquity. Since the foundation of the modern discipline of art history in Germany in the late eighteenth century,debates about art and its histories have intensified. Historians, philosophers, psychologists and anthropologists among others have changed our notions of what art history has been, is, and might be. This anthology is a guide to understanding art history through a critical reading of the field''s most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner,Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen and Nestor Canclini are brought together, and Donald Preziosi''s introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake.His own concluding essay is an important and original contribution to scholarship in the field. From the pre-publication reviews: ''Until now, anthologies about the history of art have tended to be worthy yet inert, plotting a linear evolution from the great precursors (Vasari, Winckelmann) to the founding fathers of the modern discipline (Wolfflin, Riegl, Panofsky) to the achievements and refinements of today''s scholarship.The texts that Donald Preziosi has brought together provide something far more challenging: the juxtapositions and alignments between individual essays point the reader towards unresolved problems, ongoing debates, and paths not takenor not taken yet. In place of the consoling tale of intellectualprogress, the collection defamiliarizes the whole field, and opens up a space for radical reflection on its basic procedures and assumptions. Definitely the best introduction to art history currently available.'' Professor Norman Bryson, Harvard University ''Donald Preziosi has prepared an anthologyfrom the Greek, a collection of flowersof art history. His bouquet contains representatives from the discipline''s two-hundred year history, arranged in standard and innovative methodological categories. Within each, the readings selected providestimulating congruencies and contradictions that will inspire productive debate and contemplation. But what makes this anthology more than an arresting assemblage is the author''s critical stance toward what he has wrought. His introduction and concluding chapter write around and under the subjectspresented, emphasizing the ''art'' of art history, its kinship with modernity''s post-Enlightenment project, and its collaboration with the rise of nationalism. Thus the discipline''s past is probed and questioned and made relevant for its present and future. The whole thereby addresses, withouthealing or concealing, the disciplinary ruptures of modernism. The book might also have explored further nature of art history''s history within the emergent discourse of post-colonialism and the globalization of culture Yet the many new perspectives it does offer help to re-present the discipline for its readers, students, teachers, and curators, for other areas of humanistic inquiry, which are being subject to similar critiques, and for artists and the larger art community, for whom history, narrative, and anaccounting of art''s past have once again become vital issues'' Professor Robert S. Nelson, Professor of Art History and Chair, Committee for the History of Culture, University of Chicago ''Rather than focusing on its Vasarian moment or on the later academic institutionalization of art history in the 19th and 20th centuries, Donald Preziosi, in The Art of Art History, constructs a reading of this hegemonic and reductive practice of making ''the visible legible'' as one that isinextricably tied to the museographic paradigm of late 18th and early 19th centuries. This shift, he sees as equivalent in importance to the brought by the ''invention'' of perspective. But the author goes further than to underline the implication of art history with the premises of modernity, hemakes a strong case, in a vivid and inspiring prose, for a tighter equation between art history and modernity: an equation grounded in his insightful considerations (and meteoric formulations) of the epistemological setting, rhetorical operations political (colonialist) aims and schizophrenic yetall-invasive aestheticization of knowledge that, in the last two centuries, have fashioned what we will no longer dare to call the discipline of art history. The result is a flamboyant book that offers anything but a celebratory reading of art history. It does not constitute an articulation of canonical texts or an up-to-date menu of art historical currents, methods, or trends. Yet it manages to avoid none of these dimensions. Art history is notenvisages as the learned discourse of modernity on a specific class of objects nor is it reduced to a genealogy of outstanding artist-subjects and their volatile constellations of contemporary subjects-readers. It becomes a practice wherein objects and subjects relate and relations oftencrystallize, under the unrecognized aegis of the fetish, this Other of art, since Preziosi concisely defines art as ''the anti-fetish fetish''. Far from the fantastic neutrality that is traditionally found in the format of such an historiographic endeavour, Preziosi frames his selection of text andthreads through them with an array of different strategic voices, superimposed (to stress a spatial figure he is keen to discern) in order to elaborate a strong polemic position that situates art history as an enduring and well disguised fictional genre. In the process, the author courageouslytakes on the paradox that is at the core of his project: to introduce students to the coming out o art history... as art, one that is not necessarily meant to be our coming out of it but that certainly well establishes our motives to continue to shake its grounds and its multi-storied apparatus.'' Professor Johanne Lamoureux, University of Montreal.
All this time Rika thought she was an unwanted child. She keeps moving around to avoid people suspicious about her immortal age and also from her stalkers. But later on, her life turned 180 degrees after learning the truth that had been hidden for so long. Especially when she meets the person that she hates the most and turns out to be her fiancé.
