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We are in the second decade of the 21st century and, as with most things, the distinction between digital and analogue has become tired and inappropriate. This is also true in the world of architectural drawing, which paradoxically is enjoying a renaissance supported by the graphic dexterity of the computer. This new fecundity has produced a contemporary glut of stunning architectural drawings and representations that could rival the most recent outpouring of architectural vision in the 1960s, 1970s and 1980s. Indeed, there is much to learn by comparing the then and the now. The contemporary drawing is often about its ability to describe the change, fluctuations and mutability of architecture in relation to the virtual/real 21st-century continuum of architectural space. Times have changed, and the status of the architectural drawing must change with them. This reassessment is well overdue, and this edition of AD will be the catalyst for such re-examination. Features the work of: Pascal Bronner, Bryan Cantley, Peter Cook, Perry Kulper, CJ Lim, Tom Noonan, Dan Slavinsky, Neil Spiller, Peter Wilson, Nancy Wolf, Lebbeus Woods and Mas Yendo. Contributors include: Nic Clear, Mark Garcia, Simon Herron and Mark Morris.
Latino folklore comprises a kaleidoscope of cultural traditions. This compelling three-volume work showcases its richness, complexity, and beauty. Latino folklore is a fun and fascinating subject to many Americans, regardless of ethnicity. Interest in—and celebration of—Latin traditions such as Día de los Muertos in the United States is becoming more common outside of Latino populations. Celebrating Latino Folklore: An Encyclopedia of Cultural Traditions provides a broad and comprehensive collection of descriptive information regarding all the genres of Latino folklore in the United States, covering the traditions of Americans who trace their ancestry to Mexico, Spain, or Latin America. The encyclopedia surveys all manner of topics and subject matter related to Latino folklore, covering the oral traditions and cultural heritage of Latin Americans from riddles and dance to food and clothing. It covers the folklore of 21 Latin American countries as these traditions have been transmitted to the United States, documenting how cultures interweave to enrich each other and create a unique tapestry within the melting pot of the United States.
Earliest Christian art - Saints and holy places - Holy images - Artistic production for the wealthy - Icons & iconography.
A fascinating case study of the archaeological site at Murujuga, Australia Located in the Dampier Archipelago of Western Australia, Murujuga is the single largest archaeological site in the world. It contains an estimated one million petroglyphs, or rock art motifs, produced by the Indigenous Australians who have historically inhabited the archipelago. To date, there has been no comprehensive survey of the site's petroglyphs or those who created them. Since the 1960s, regional mining interests have caused significant damage to this site, destroying an estimated 5 to 25 percent of the petroglyphs in Murujuga. Today, Murujuga holds the unenviable status of being one of the most endangered archaeological sites in the world. José Antonio González Zarandona provides a full postcolonial analysis of Murujuga as well as a geographic and archaeological overview of the site, its ethnohistory, and its considerable significance to Indigenous groups, before examining the colonial mistreatment of Murujuga from the seventeenth century to the present. Drawing on a range of postcolonial perspectives, Zarandona reads the assaults on the rock art of Murujuga as instances of what he terms "landscape iconoclasm": the destruction of art and landscapes central to group identity in pursuit of ideological, political, and economic dominance. Viewed through the lens of landscape iconoclasm, the destruction of Murujuga can be understood as not only the result of economic pressures but also as a means of reinforcing—through neglect, abandonment, fragmentation, and even certain practices of heritage preservation—the colonial legacy in Western Australia. Murujuga provides a case study through which to examine, and begin to reject, archaeology's global entanglement with colonial intervention and the politics of heritage preservation.
'Miracles and the Concept of Impossibility' takes a fresh look at the miracle of the resurrection of Jesus. A miracle is inexplicable by the methods of science and thus deemed impossible. I examine the concept of impossibility with primary reference to David Hume’s notion that there is a boundary of probability beyond which the improbable becomes the impossible, calculated at 10150. Physicists have declared that the universe is inevitable and, at the same time, impossible. Its inevitability is obvious, but the mind-boggling improbability that a biocentric universe exists vastly exceeds the probability boundary. If a miracle is defined as an impossibility, the universe is a miracle. The origin of life is just as miraculously impossible because the probability of dead organic molecules evolving into the organic molecules of life is even less than it is for the existence of the universe. ... r> This book also looks at what the Resurrection means in terms of the atonement and the concepts of hell and universal salvation. This is followed by an examination of the evidence for the Resurrection and historical and archaeological reasons for trusting the New Testament. Secular explanations of the Resurrection are examined and pitted against the Christian account in terms of their explanatory scope and power. The last two chapters look at the “silent witness” to the resurrection, the Shroud of Turin bearing the image of a terribly tortured and crucified man. For 125 years, scientists have been unable to discover how the image was imprinted on the cloth; thus, I conclude that it is the “silent witness” to the Resurrection—the authentic Shroud of Jesus Christ.
Images increasingly saturate our world, making present to us what is distant or obscure. Yet the power of images also arises from what they do not make present—from a type of absence they do not dispel. Joining a growing multidisciplinary conversation that rejects an understanding of images as lifeless objects, this book offers a theological meditation on the ways images convey presence into our world. Just as Christ negates himself in order to manifest the invisible God, images, Natalie Carnes contends, negate themselves to give more than they literally or materially are. Her Christological reflections bring iconoclasm and iconophilia into productive relation, suggesting that they need not oppose one another. Investigating such images as the biblical golden calf and paintings of the Virgin Mary, Carnes explores how to distinguish between iconoclasms that maintain fidelity to their theological intentions and those that lead to visual temptation. Offering ecumenical reflections on issues that have long divided Protestant, Catholic, and Orthodox traditions, Image and Presence provokes a fundamental reconsideration of images and of the global image crises of our time.
An indispensable resource for investigating the history of the Byzantine Empire, this book provides a comprehensive summary of its overall development as well as its legacy in the modern world. The existence and development of Byzantium covers more than a millennium and coincides with one of the darkest periods of European history. Unfortunately, the Empire's achievements and brightest moments remain largely unknown except to Byzantine scholars. Through reference entries and primary source documents, this encyclopedia provides essential information about the Byzantine Empire from the reign of Diocletian to the Fall of Constantinople. The reference entries are grouped in eight topical sections on the most significant aspects of the history of the Byzantine Empire. These sections include individuals, key events, key places, the military, objects and artifacts, administration and organization, government and politics, and groups and organizations. Each section begins with an overview essay and contains approximately thirty entries on carefully selected topics. The entries conclude with suggestions for further reading along with cross-references., A selection of primary source documents gives readers first-hand accounts of the Byzantine world.
This collection of essays considers artistic works that deal with the body without a visual representation. It explores a range of ways to represent this absence of the figure: from abject elements such as bodily fluids and waste to surrogate forms including reliquaries, manuscripts, and cloth. The collection focuses on two eras, medieval and modern, when images referencing the absent body have been far more prolific in the history of art. In medieval times, works of art became direct references to the absent corporal essence of a divine being, like Christ, or were used as devotional aids. By contrast, in the modern era artists often reject depictions of the physical body in order to distance themselves from the history of the idealized human form. Through these essays, it becomes apparent, even when the body is not visible in a work of art, it is often still present tangentially. Though the essays in this volume bridge two historical periods, they have coherent thematic links dealing with abjection, embodiment, and phenomenology. Whether figurative or abstract, sacred or secular, medieval or modern, the body maintains a presence in these works even when it is not at first apparent.
Transparency has become a new norm. States, international organizations, and even private businesses have sought to bolster their legitimacy by invoking transparency in their activities. This growth in popularity was made possible through two interconnected trends: the idea that transparency is inherently good, and that the actual meaning of the term is becoming harder and harder to pin down. Thus far, this has remained undertheorized. The Transparency Paradox is an insightful account of the hidden logic of the ideal of transparency and its legal manifestations. It shows how transparency is a covertly conflicted ideal. The book argues that counter to popular understanding, truth and legitimacy cannot but form a problematic trade-off in transparency practices.
Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. Emmanuel Alloa retraces the history of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices.