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Numerous writers have made declarations of love to cities, but Against Venice speaks not of love, but of dislike. It is a counterblast to intellectuals who regard Venice as the city where existentialism should be experienced, at parties in the palazzi of friends. Debray criticises this world in a refreshingly irreverent way, luring the traveller back to this seductive city.
Here's how I do it, and why?: this is the premise behind John Howe's very first practical exploration of his artistic inspirations, approaches and techniques. Perfect for practical artists and fans of John Howe's work, this book provides step-by- step demonstrations, sketches and outstanding finished paintings, some of which were designed specifically for this book. The book covers a wide range of subjects essential to any aspiring fantasy artist, including materials and the creative process, as well as drawing and painting humans, beasts, landscapes and architecture. Readers will also find further inspiration and guidance on presenting work in various forms including film work, book covers and advertising.
For Marc Augé, best-selling author of Non-Places, the prevailing idea of "the Future" rests on our present fears of the contemporary world. It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Augé finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.From the Trade Paperback edition.
Cinema, like language, can be said to exist as a system of differences. In his latest book, acclaimed philosopher Jacques Rancière looks at cinematic art in comparison to its corollary forms in literature and theatre. From literature, he argues, cinema takes its narrative conventions, while at the same time effacing literature's images and philosophy; and film rejects theatre, while also fulfilling theatre's dream. Built on these contradictions, the cinema is the real, material space in which one is moved by the spectacle of shadows. Thus, for Rancière, film is the perpetually disappointed dream of a language of images.From the Trade Paperback edition.
''Here's how I do it, and why''This is the premise behind John Howe's first practical exploration of his artistic inspirations, approaches and techniques. This title will appeal to practical artists and fans of John Howe's work by providing step-by-step demonstrations, sketches and oustanding finished paintings, some designed specifically for this book. It covers a wide range of subjects essential to any aspiring fantasy artist, including materials and the creative process, and drawing and painting humans, beasts, landscapes and architecture. The final section of the book provides further inspiration and guidance on presenting work in various forms including film work, book covers and advertising, all areas John Howe has vast experience in. It includes a foreword written by groundbreaking film director, Terry Gilliam, with an Afterword by Alan Lee, the Oscar winning world-class illustrator.
"It is only ideas gained from walking that have any worth." --Nietzsche In A Philosophy of Walking, a bestseller in France, leading thinker Frédéric Gros charts the many different ways we get from A to B - the pilgrimage, the promenade, the protest march, the nature ramble - and reveals what they say about us. Gros draws attention to other thinkers who also saw walking as something central to their practice. On his travels he ponders Thoreau's eager seclusion in Walden Woods; the reason Rimbaud walked in a fury, while Nerval rambled to cure his melancholy. He shows us how Rousseau walked in order to think, while Nietzsche wandered the mountainside to write. In contrast, Kant marched through his hometown every day, exactly at the same hour, to escape the compulsion of thought. Brilliant and erudite, A Philosophy of Walking is an entertaining and insightful manifesto for putting one foot in front of the other.From the Hardcover edition.
The timeless Carceri etchings of Piranesi (1720-1778) represent not only spectacular artistic accomplishments but also unforgettable expressions of psychological truths. Combining the influences of Tiepolo, Bibiena, and Rembrandt, these works of architectural fantasy challenge the boundaries of perception, creating a vast system of visual provocation. Innumerable staircases, immense vaults, and other ambiguous structures are compounded with projecting beams, pulleys, rickety catwalks and gangways, dangling ropes and chains, and the occasional shadowy human figure.This full reproduction in book form of The Prisons, made directly from mint copies of original prints, presents both editions of Piranesi's work, with prints on facing pages for convenient comparison. The first edition (circa 1745) ranks among the most rare and valuable print collections in existence and abounds in a multiplicity of perspectives--an innovation that predates Cubism by two centuries. For the second (1761) edition, Piranesi reworked the plates, adding elaborate details that alter some of them almost beyond recognition. It is in the second, more emotionally challenging renditions that his masterful management of light and shadow is most evident. This edition features an informative Introduction by Philip Hofer, in addition to a Preface by John Howe, a conceptual designer on Peter Jackson's Lord of the Rings film trilogy.
Robespierre's defense of the French Revolution remains one of the most powerful and unnerving justifications for political violence ever written, and has extraordinary resonance in a world obsessed with terrorism and appalled by the language of its proponents. Yet today, the French Revolution is celebrated as the event which gave birth to a nation built on the principles of enlightenment... So how should a contemporary audience approach Robespierre's vindication of revolutionary terror? Zizek takes a helter-skelter route through these contradictions, marshalling all the breadth of analogy for which he is famous. "If the spring of popular government in time of peace is virtue, the springs of popular government in revolution are at once virtue and terror: virtue, without which terror is fatal; terror, without which virtue is powerless."
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