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"This vibrant book tells the history of the Modernist design movement and how it completely revolutionized graphic design. A completely new aesthetic approach to graphic design and typography was created in Europe between 1919 and 1933. An avant-garde group of Dadaists, Futurists, and Constructivists created a brilliantly innovative language of design. This comprehensive volume shows how the work of pioneering artists such as El Lissitzky, Jan Tschichold, and László Moholy-Nagy broke conventions in color, typography, and composition, setting new standards in graphic design that are still in use today." --
"Weimar Centennial edition with a new preface by the author."--Title page.
Originally published: New York: G.P. Putnam's Sons, 1974.
In The New Nobility, two courageous Russian investigative journalists open up the closed and murky world of the Russian Federal Security Service. While Vladimir Putin has been president and prime minister of Russia, the Kremlin has deployed the security services to intimidate the political opposition, reassert the power of the state, and carry out assassinations overseas. At the same time, its agents and spies were put beyond public accountability and blessed with the prestige, benefits, and legitimacy lost since the Soviet collapse. The security services have played a central -- and often mysterious -- role at key turning points in Russia during these tumultuous years: from the Moscow apartment house bombings and theater siege, to the war in Chechnya and the Beslan massacre. The security services are not all-powerful; they have made clumsy and sometimes catastrophic blunders. But what is clear is that after the chaotic 1990s, when they were sidelined, they have made a remarkable return to power, abetted by their most famous alumnus, Putin.
It is impossible to understand the history of modern Europe without some knowledge of the Weimar Republic. The brief fourteen-year period of democracy between the Treaty of Versailles and the advent of the Third Reich was marked by unstable government, economic crisis and hyperinflation and the rise of extremist political movements. At the same time, however, a vibrant cultural scene flourished, which continues to influence the international art world through the aesthetics of Expressionism and the Bauhaus movement. In the fields of art, literature, theatre, cinema, music and architecture – not to mention science – Germany became a world leader during the 1920s, while her perilous political and economic position ensured that no US or European statesman could afford to ignore her. Incorporating original research and a synthesis of the existing historiography, this book will provide students and a general readership with a clear and concise introduction to the history of the first German Republic.
The life and times of one of the most provocative thinkers of the twentieth century Worldly Philosopher chronicles the times and writings of Albert O. Hirschman, one of the twentieth century's most original and provocative thinkers. In this gripping biography, Jeremy Adelman tells the story of a man shaped by modern horrors and hopes, a worldly intellectual who fought for and wrote in defense of the values of tolerance and change. This is the first major account of Hirschman’s remarkable life, and a tale of the twentieth century as seen through the story of an astute and passionate observer. Adelman’s riveting narrative traces how Hirschman’s personal experiences shaped his unique intellectual perspective, and how his enduring legacy is one of hope, open-mindedness, and practical idealism.
Exquisitely produced to reflect Dieter Rams' aesthetic philosophy, this book presents highlights from a forty-year career designing iconic consumer products that enhance our daily lives. For decades, anyone who cared about product design looked to the Braun label when choosing their appliances, radios, and other consumer items. Now Dieter Rams, the guiding force behind the Braun look, breaks down his design principles and processes in this elegant book. Enumerating each of his ten principles such as good design is innovative; good design is aesthetic; good design is useful, etc., this book presents one hundred items that embody these guidelines. Readers will find items that are familiar such as the ubiquitous coffee grinder but also those that are more unusual such as shelving systems and cigarette lighters. A fascinating essay places Dieter Rams in the context of modern design, from Bauhaus to Philip Johnson. Archival materials include photos of Rams' design team and excerpts from his publications and speeches. The book closes with a chronological overview of design icons, categorized by function, that show the enormous breadth of Rams' vision. Taken together, these images and texts offer the most comprehensive overview of Dieter Rams' work to date and will serve as both a reference and an inspiration for anyone interested in how and why good design matters.
An original account of neo-liberalism's intellectual foundations, development and conceptual configuration as an ideology. Newly available in paperback.
Unravels the never-ending fascination exercised by the film and provides a clear guide to the film's contexts, cinematography, and possible interpretations, covering the political and social contexts.
This is a book about artistic modernism contending with the historical transfigurations of modernity. As a conscientious engagement with modernity's restructuring of the lifeworld, the modernist avant-garde raised the stakes of this engagement to programmatic explicitness. But even beyond the vanguard, the global phenomenon of jazz combined somatic assault with sensory tutelage. Jazz, like the new technologies of modernity, re-calibrated sensory ratios. The criterion of the new as self-making also extended to names: pseudonyms and heteronyms. The protocols of modernism solicited a pragmatic arousal of bodily sensation as artistic resource, validating an acrobatic sensibility ranging from slapstick and laughter to the pathos of bereavement. Expressivity trumped representation. The artwork was a diagram of perception, not a mimetic rendering. For artists, the historical pressures of altered perception provoked new models, and Ezra Pound's slogan 'Make It New' became the generic rallying cry of renovation. The paradigmatic stance of the avant-garde was established by Futurism, but the discovery of prehistoric art added another provocation to artists. Paleolithic caves validated the spirit of all-over composition, unframed and dynamic. Geometric abstraction, Constructivism and Purism, and Surrealism were all in quest of a new mythology. Making it new yielded a new pathos in the sensation of radical discrepancy between futurist striving and remotest antiquity. The Paleolithic cave and the USSR emitted comparable siren calls on behalf of the remote past and the desired future. As such, the present was suffused with the pathos of being neither, but subject to both.