Diese Sammlung von Beitragen anerkannter Autoren zur Architektur, die uber den Quader hinausgeht, ist das einzige derzeit am Markt befindliche Referenzwerk auf diesem Gebiet. Theoretische und praktische Aspekte der Konstruktion von Vielflachnern und raumlichen Gebilden werden anhand von uber 480 Zeichnungen und zahlreichen Fotographien anschaulich erlautert. (02/98)
Following upon the Handbook of Japan-United States Environment-Behavior Research, published by Plenum in 1997, leading experts review the interrelationships among theory, problem, and method in environment-behavior research. The chapters focus on the philosophical and theoretical assumptions underlying current research and practice in the area and link those assumptions to specific substantive questions and methodologies
This is a book that shows how to "see" structures as being integral to architecture. It engages a subject that is both about understanding the mechanical aspects of structure as well as being able to relate this to the space, form, and conceptual design ideas that are inherent to the art of building. Analyzing the structural principles behind many of the best-known works of architecture from past and present alike, this book places the subject within a contemporary context. The subject matter is approached in a qualitative and discursive manner, illustrated by many photographs and structural behavior diagrams. Accessible mathematical equations and worked-out examples are also included so as to deepen a fundamental understanding of the topic. This new, color edition’s format has been thoroughly revised and its content updated and expanded throughout. It is perfect as either an introductory structures course text or as a designer’s sourcebook for inspiration, for here two essential questions are addressed in parallel fashion: “How do structures work?” and “What form do structures take in the context of architecture – and why so?” A rich, varied and engaging rationale for structural form in architecture thus emerges.
This extensive Handbook addresses a range of contemporary issues related to arts education across the world. It is divided into six sections; Contextualising Arts Education, Globally and Locally; Arts Education, Curriculum, Policy and Schooling; Arts Education Across the Life Span; Arts Education for Social Justice: Indigenous and Community Practice; Health, Wellbeing and Arts Education and Arts-Based and Research-Informed Arts Education. The Handbook explores global debates within education in the areas of dance, drama, music, media and visual arts. Presenting wide-ranging research from pedagogies of adaptation developed in Uganda to ethnomusicology in Malaysia and community participatory arts to wellbeing in Canada the Handbook highlights the universal need for arts education and in particular the importance of indigenous (including both traditional and contemporary practice) arts education. With contributions from internationally renowned scholars and practitioners and building on the World Alliance for Arts Education Global Summit in 2014, the Handbook creates an essential resource for arts education practices in and out of school alongside institutional, traditional and contemporary contexts. Students, teachers and practitioners across the arts disciplines will find the text invaluable for developing further opportunities to promote and study arts education.
This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.
"In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach. In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory."
The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art. Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking. In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.
