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Tatsuo Miyajima is one of Japan's leading contemporary artists, known for his immersive and technologically-driven sculptures and installations. This exhibition will be his first major survey exhibition in the Southern Hemisphere, encompassing key works from the beginnings of his career to the present. Central to his practice are numerical counters that count from 1 to 9 repeatedly using light-emitting diodes (LEDs), then go dark momentarily. For Miyajima, the cyclical repetition of numbers, along with the shift from light to dark, reflect the importance of time. He draws inspiration from Buddhist philosophy, with its exploration of mortality and human cycles of death and renewal.
An in-depth exploration spanning 800 years of the art, essence, and enduring impact of the Japanese garden. The most comprehensive exploration of the art of the Japanese garden published to date, this book covers more than eight centuries of the history of this important genre. Author and garden designer Sophie Walker brings fresh insight to this subject, exploring the Japanese garden in detail through a series of essays and with 100 featured gardens, ranging from ancient Shinto shrines to imperial gardens and contemporary Zen designs. Leading artists, architects, and other cultural practitioners offer personal perspectives in newly commissioned essays.
Published on the occasion of an exhibition held at the Kitchen, the Little Red Lighthouse, and other public sites throughout New York from May 27 to June 19, 2010.
An exploration of the tensions between East and West and digital and analog in Japanese new-media art. This book grew out of Yvonne Spielmann's 2005–2006 and 2009 visits to Japan, where she explored the technological and aesthetic origins of Japanese new-media art—which was known for pioneering interactive and virtual media applications in the 1990s. Spielmann discovered an essential hybridity in Japan's media culture: an internal hybridity, a mixture of digital-analog connections together with a non-Western development of modernity separate from but not immune to Western media aesthetics; and external hybridity, produced by the international, transcultural travel of aesthetic concepts. Spielmann describes the innovative technology context in Japan, in which developers, engineers, and artists collaborate, and traces the Japanese fondness for precision and functionality to the poetics of unobtrusiveness and detail. She examines work by artists including Masaki Fujihata, whose art is both formally and thematically hybrid; Seiko Mikami and Sota Ichikawa, who build special devices for a new sense of human-machine interaction; Toshio Iwai, who connects traditional media forms with computing; and Tatsuo Miyajima, who anchors his LED artwork in Buddhist philosophy. Spielmann views hybridity as a positive aesthetic value—perhaps the defining aesthetic of a global culture. Hybridity offers a conceptual approach for considering the ambivalent linkages of contradictory elements; its dynamic and fluid characteristics are neither conclusive nor categorical but are meant to stimulate fusions.
This is a cultural history of mathematics and art, from antiquity to the present. Mathematicians and artists have long been on a quest to understand the physical world they see before them and the abstract objects they know by thought alone. Taking readers on a tour of the practice of mathematics and the philosophical ideas that drive the discipline, Lynn Gamwell points out the important ways mathematical concepts have been expressed by artists. Sumptuous illustrations of artworks and cogent math diagrams are featured in Gamwell's comprehensive exploration. Gamwell begins by describing mathematics from antiquity to the Enlightenment, including Greek, Islamic, and Asian mathematics. Then focusing on modern culture, Gamwell traces mathematicians' search for the foundations of their science, such as David Hilbert's conception of mathematics as an arrangement of meaning-free signs, as well as artists' search for the essence of their craft, such as Aleksandr Rodchenko's monochrome paintings. She shows that self-reflection is inherent to the practice of both modern mathematics and art, and that this introspection points to a deep resonance between the two fields: Kurt Gödel posed questions about the nature of mathematics in the language of mathematics and Jasper Johns asked "What is art?" in the vocabulary of art. Throughout, Gamwell describes the personalities and cultural environments of a multitude of mathematicians and artists, from Gottlob Frege and Benoît Mandelbrot to Max Bill and Xu Bing. Mathematics and Art demonstrates how mathematical ideas are embodied in the visual arts and will enlighten all who are interested in the complex intellectual pursuits, personalities, and cultural settings that connect these vast disciplines.
Item consists of collected criticism and essays on art in Britain written in the 1990's for 'The Times'.
This book contains a selection of the papers given at an international conference at the University of Konstanz (Germany) in 1991. All contributions relate to the assumption that lexical knowledge plays a central role in the organization of language, inasmuch as the components or modules of grammar come together and interact in the lexicon. Originating in various traditions of linguistic thought, however, the individual papers reflect differing interests and are based upon different conceptions of the lexicon, its status and interfaces. There is the position of current generative linguistics, which aims at accounting for structural properties of the lexicon within syntactic theory. There is also the perspective of model-theoretical semantics, where borderline phenomena between lexical semantics and the semantics of sentence and text receive particular attention. Still another group of papers directly discusses problems of lexical semantics, focussing on representational and conceptual aspects of word meanings. The notion of a two-level semantics as well as cross-linguistic analyses are characteristic of these contributions. The book closes with a comparative and historical study of lexical evolution.
In interactive discourse we not only express propositions, but we also express different attitudes to them. That is, we communicate how our mind entertains those propositions that we express. A speaker is able to express an attitude of belief, desire, hope, doubt, fear, regret or pretence that a given proposition represents a true state of affairs. This collection of papers explores the contribution of particles and other uninflected mood-indicating function words to the expression of propositional attitude in the broad sense. Some languages employ this type of attitude-marking device extensively, even for the expression of basic moods and basic speech act categories, other languages use such markers sparsely and always in interaction with syntactic form. Both types of language are examined in this volume, which includes studies of attitudinal markers in Amharic, English, Gascon, Occitan, German, Greek, Hausa, Hungarian, Japanese, Norwegian and Swahili. The theoretical emphasis is on issues such as interpretive vs. descriptive use of utterances or utterance parts, procedural semantics, linguistic underdetermination of the proposition expressed and the speaker’s communicated attitude to it, higher-level explicatures in the relevance-theoretic sense, the explicit — implicit distinction, as well as processes of grammaticalization and negotiation of propositional attitude in spoken interaction.
Japanese ranks as the ninth most widely spoken language of the world with more than 127 million speakers in the island state of Japan. Its genetic relation has been a topic of heated discussion, but Altaic and Austronesian languages appear to have contributed to the early formation of this language. Japanese has a long written tradition, which goes back to texts from the eighth century CE. The modern writing system employs a mixture of Chinese characters and two sets of syllabary indigenously developed based on the Chinese characters. This book consists of sixteen chapters covering the phonology, morphology, writing system, tense and aspect systems, basic argument structure, grammatical constructions, and discourse and pragmatic phenomena of Japanese. It provides researchers with a useful typological reference and students of Japanese with a theory-neutral introduction to current linguistic research issues.