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Focusing on Europe in the first half of the century and the United States in the postwar years, Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them.
A collection of essays and research on the folklore and traditional uses of plants, as well as recent scientific discoveries and findings. Topics range from medicinal properties to cultural significance, making this a comprehensive resource for botanists and enthusiasts alike. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.
Offers advice on selecting plants, planning a garden layout, preparing the soil, and planting and tending a garden, and suggests theme gardens and family projects.
Contains approximately 800 alphabetical entries, prose essays on important topics, line illustrations, and black-and-white photographs.
An introduction to the floral industry discusses the basic techniques of floral design and careers in the retail flower business, and includes instructions for dozens of projects.
Meant primarily for gardeners in USDA zones 8–10, The Tropical Look encompasses most of the southern U.S. and the West Coast. This groundbreaking encyclopedia of lush plants will also be useful to gardeners in other zones who are interested in growing tropical-looking plants (as opposed to strictly tropical plants, which cannot endure a frost) as half-hardy, annual, or conservatory plants. This book is only available through print on demand. All interior art is black and white.