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How do objects 'speak' to us? What happens to authorship when voice is projected into inanimate objects? How can one articulate an object into speech? Is the inarticulate body necessarily silent? These are just some of the questions brought up by this unique and unusual collection of essays, which presents subjects and categories often overlooked by the disciplines of art history, visual culture, theatre history and comparative literature. Drawing from and expanding upon the 'Performing Objects, Animating Images' academic session run by the Henry Moore Institute at the Association of Art Historians conference, held in London in 2003, this book presents thirteen essays that bring together a multidisciplinary approach to the animated object. Contributions range from literal accounts of magic lanterns, tableaux vivants, puppets and ventriloquist dummies, to the more abstract notions of voice displacement in audio art and authorship projection in writing machines. The contributors come from diverse backgrounds in art history, cultural history, comparative literature, and artistic, theatrical and curatorial practice, and all tackle the issue of 'articulate objects' from a range of lively and unexpected perspectives.
Sound art has long been resistant to its own definition. Emerging from a liminal space between movements of thought and practice in the twentieth century, sound art has often been described in terms of the things that it is understood to have left behind: a space between music, fine art, and performance. The Oxford Handbook of Sound Art surveys the practices, politics, and emerging frameworks of thought that now define this previously amorphous area of study. Throughout the Handbook, artists and thinkers explore the uses of sound in contemporary arts practice. Imbued with global perspectives, chapters are organized in six overarching themes of Space, Time, Things, Fabric, Senses and Relationality. Each theme represents a key area of development in the visual arts and music during the second half of the twentieth century from which sound art emerged. By offering a set of thematic frameworks through which to understand these themes, this Handbook situates constellations of disparate thought and practice into recognized centers of activity.
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The use of museum collections as a path to learning for university students is fast becoming a new pedagogy for higher education. Despite a strong tradition of using lectures as a way of delivering the curriculum, the positive benefits of ’active’ and ’experiential learning’ are being recognised in universities at both a strategic level and in daily teaching practice. As museum artefacts, specimens and art works are used to evoke, provoke, and challenge students’ engagement with their subject, so transformational learning can take place. This unique book presents the first comprehensive exploration of ’object-based learning’ as a pedagogy for higher education in a broad context. An international group of authors offer a spectrum of approaches at work in higher education today. They explore contemporary principles and practice of object-based learning in higher education, demonstrating the value of using collections in this context and considering the relationship between academic discipline and object-based learning as a teaching strategy.
A comprehensive and practical approach to designing for the growingsenior market As people live longer, stay healthier, and enjoy more disposableincome, their use of hospitality services is increasingdramatically. Hospitality Design for the Graying Generation helpsyou cater to this expanding market by providing criticalinformation on designing facilities which are sensitive to theneeds of the over-65 population. With the important principlesexplained in this book, designing for the senior consumer can becreative, cost-effective, and benefit all consumers withoutsacrificing style. This indispensable guide includes: * A Universal Design approach that can be applied to bothcommercial and residential projects, going beyond compliance withADA guidelines * A wide range of hospitality design, including restaurants, hotelguest rooms, lobbies, and lounges * Design principles beautifully illustrated with concise, detaileddrawings * Extensive coverage of the specific physical needs and psychologyof seniors, including physical strength, hearing, sight, colorpreferences, and other areas * A quick-reference checklist of "senior-friendly" designfeatures When the interior design needs of the over-65 market are met, allpotential users gain, regardless of age or ability. This accessiblebook is an invaluable resource for designers, operators, and otherprofessionals throughout the hospitality industry. With millions of baby boomers rapidly approaching retirement age,the over-65 age group is the fastest-growing segment of thepopulation. As they become healthier, live longer, and have moredisposable income, their use of hospitality services, such ashotels and restaurants, will increase dramatically. Whether you area designer or a hospitality professional, Hospitality Design forthe Graying Generation helps you plan for this growing market byproviding you with critical information for designing facilitiesthat accommodate the needs of all generations. Clearly written and generously illustrated, Hospitality Design forthe Graying Generation shows you how to address the specificphysical and psychological needs of seniors, with detailed chapterson mobility, hearing, vision, color preferences, and otherimportant areas. Going beyond ADA guidelines, Alfred Baucom'sUniversal Design approach enables you to integrate senior-friendlydesign principles into a wide range of specific environments --fromlobbies, common areas, and public restrooms to restaurants,lounges, and hotel guest rooms. In meeting the needs of the over-65 market, Hospitality Design forthe Graying Generation ensures that all potential users, regardlessof age or ability, will be well accommodated.
Critique has long been a central concept within art practice and theory. Since the emergence of Conceptual Art, artists have been expected by critics, curators, and art school faculty to focus their work on exposing and debunking ideologies of power and domination. Recently, however, the effectiveness of cultural critique has come into question. The appearance of concepts such as the "speculative," the "reparative," and the "constructive" suggests an emerging postcritical paradigm. Beyond Critique takes stock of the current discourse around this issue. With some calling for a renewed criticality and others rejecting the model entirely, the book's contributors explore a variety of new and recently reclaimed criteria for contemporary art and its pedagogy. Some propose turning toward affect and affirmation; others seek to reclaim such allegedly discredited concepts as intimacy, tenderness, and spirituality. With contributions from artists, critics, curators and historians, this book provides new ways of thinking about the historical role of critique while also exploring a wide range of alternative methods and aspirations. Beyond Critique will be a crucial tool for students and instructors who are seeking to think and work beyond the critical.
This study examines the origins of geometry in and out of the intuitively given everyday lifeworlds of children in a second-grade mathematics class. These lifeworlds, though pre-geometric, are not without model objects that denote and come to anchor geometric idealities that they will understand at later points in their lives. Roth's analyses explain how geometry, an objective science, arises anew from the pre-scientific but nevertheless methodic actions of children in a structured world always already shot through with significations. He presents a way of understanding knowing and learning in mathematics that differs from other current approaches, using case studies to demonstrate contradictions and incongruences of other theories – Immanuel Kant, Jean Piaget, and more recent forms of (radical, social) constructivism, embodiment theories, and enactivism – and to show how material phenomenology fused with phenomenological sociology provides answers to the problems that these other paradigms do not answer.
This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance. The chapters are written by significant artists and scholars and consider practices from various locations, including Central and Western Europe, Mexico, and the United States. The authors build on dialogues between, for example, philosophy and museum studies, and memory studies and post-humanism, and engage with a wide range of theory from phenomenology to relational aesthetics to New Materialism. Thus this book represents a unique collection that together considers the continuum between everyday and cultural life, and how rituals and memories are inscribed onto our being. It will be of interest to scholars and practitioners, students and teachers, and particularly those who are curious about the intersections between arts disciplines.