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R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.
R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.
"Harmony and Dissent: How Peacebuilders are Transforming their Worlds is a resource book and sampling of the world renowned peacebuilding Canadian School of Peacebuilding designed to engaged, equip and inspire peace and justice practitioners around the world. Formerly this was only accessible by attending the annual June school in Winnipeg, Canada. Each chapter of the book is authored by these peace leaders. It tells stories of inspiring peacework, offers case studies into communities embodying these lessons and offers the key resources that have helped shape these peace leaders. Authors include: Ovide Mercredi, Mubarak Awad, Stuart Clark, David Dyck, Martin Entz, Harry Huebner, Ouyporn Khuankaew, George Lakey, Ivo Markovic, Maxine Matilpi, Stan McKay, Piet Meiring, Sophia Murphy , Kay Pranis, and Karen Ridd."--
This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.
Voices of Harmony and Dissent: How Peacebuilders Are Transforming Their Worlds is an informative and thought-provoking resource from the world-renowned Canadian School of Peacebuilding (CSOP). Each chapter, authored by a different peace leader, explores three keys of peace work: --stories of inspiring peace work --case studies of communities that embody lessons learned --resources that have helped shape the author's views These stories of those who passionately pursue peace dare us to %Û_ envision what kind of peace action may be possible for each one of us.
During the Song dynasty (960-1278), some of China's elite found an elegant and subtle means of dissent: landscape painting. By examining literary archetypes, painting titles, contemporary inscriptions, and the historical context, Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed.
"A superb case of deep intellectual renewal and the most important book to have been written about [Nietzsche] in the past few years."—Gavin Jacobson, New Statesman Nietzsche's impact on the world of culture, philosophy, and the arts is uncontested, but his political thought remains mired in controversy. By placing Nietzsche back in his late-nineteenth-century German context, Nietzsche's Great Politics moves away from the disputes surrounding Nietzsche's appropriation by the Nazis and challenges the use of the philosopher in postmodern democratic thought. Rather than starting with contemporary democratic theory or continental philosophy, Hugo Drochon argues that Nietzsche's political ideas must first be understood in light of Bismarck's policies, in particular his "Great Politics," which transformed the international politics of the late nineteenth century. Nietzsche's Great Politics shows how Nietzsche made Bismarck's notion his own, enabling him to offer a vision of a unified European political order that was to serve as a counterbalance to both Britain and Russia. This order was to be led by a "good European" cultural elite whose goal would be to encourage the rebirth of Greek high culture. In relocating Nietzsche's politics to their own time, the book offers not only a novel reading of the philosopher but also a more accurate picture of why his political thought remains so relevant today.
We live in a culture—especially at work—that prefers harmony over discord, agreement over dissent, speed over deliberation. We often smile and nod to each other even though deep down we could not disagree more. Whether with colleagues, friends, or family members, the tendency to paper over differences rather than confront them is extremely common. We believe that the best thing to do to preserve our relationships and to ensure that our work gets done as expeditiously as possible is to silence conflict. Let’s face it, most bosses don’t encourage us to share our differences. Indeed, many people are taught that loyal employees accept corporate values, policies, and decisions—never challenging or questioning them. If we want to hold on to our jobs and move up in our organizations, stifling conflict is the safest way to do it—or so we believe. And it is not just with our bosses that we fear raising a dissenting opinion. We worry about what our peers and even our subordinates may think of us. We don’t want to embarrass ourselves or create a bad impression. We don’t want to lose others’ respect or risk rejection. We often associate conflict with its negative form—petty bickering, heated arguing, a bloody fight. But conflict can also be a source of creative energy; when handled constructively by both parties, differences can lead to a healthy and fruitful collaboration, creation, or construction of new knowledge or solutions. When we silence conflict, we avoid the possibility of negative conflict, but we also miss the potential for constructive conflict. Worse yet, as Leslie Perlow documents, the act of silencing conflict may create the consequences we most dread. Tasks frequently take longer or never get done successfully, and silencing conflict over important issues with people for whom we care deeply can result in disrespect for, and devaluing of, those same people. Each time we silence conflict, we create an environment in which we’re all the more likely to be silent next time. We get caught in a vicious “silent spiral,” making the relationship progressively less safe, less satisfying, and less productive. Differences get glossed over, patched over, and suppressed . . . until disaster happens. “Saying yes when you really mean no” is a problem that haunts organizations from start-ups to multi- nationals. It exists across industries, levels, and functions. And it’s exacerbated by a down economy, when the fear of losing one’s job is on everybody’s mind and the idea of allowing conflict to surface or disagreeing with others seems particularly risky. All too often, the conversation at work bespeaks harmony and togetherness, even though passionate disagreements exist beneath the surface. Leslie A. Perlow is a corporate ethnographer, an anthropologist of corporate culture. Anthropologists like Margaret Mead spend years in the field studying exotic cultures. Perlow does the same, although the field for her is the office and the exotic people are us—those who work in the world of organizations. But the end result is no less surprising or rich in insight. Whether it’s a Fortune 500 firm, small business, or government bureaucracy, Perlow provides a keen understanding of the hidden issues behind what people say (and don’t say). And more important, she shows how to create relationships where individuals feel empowered to express their genuine thoughts and feelings and to harness the power of positive conflict.
If you're like most people, you probably believe that your identity is stable. But in fact, your identity is constantly changing - often outside your conscious awareness and sometimes even against your wishes - to reflect the interests of the groups of which you're a part. And that fluid identity has a powerful influence over your feelings, beliefs, and behaviours. In THE POWER OF US, psychologists Packer and Van Bavel integrate their own cutting-edge research in psychology, neuroscience and economics to explain what identity really is and show how to harness its dynamic nature to: Increase our productivity - Improve physical and psychological health - Overcome our individual prejudice - Unlock our altruism - Break the political gridlock - Galvanize others to solve controversial global problems Along the way, they explain such seemingly unrelated phenomenon as why men cry at football games but not funerals, why the history of slavery in U.S. counties is one of the best predictors of current day racism, and why Canada keeps a national reserve of maple syrup. Packed with fascinating insights, vivid case studies, and pioneering research, THE POWER OF US will change the way you understand yourself - and those around you - forever.