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Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
From the late fifteenth to the nineteenth centuries, the Hispanic Monarchy was one of the largest and most diverse political communities known in history. At its apogee, it stretched from the Castilian plateau to the high peaks of the Andes; from the cosmopolitan cities of Seville, Naples, or Mexico City to Santa Fe and San Francisco; from Brussels to Buenos Aires and from Milan to Manila. During those centuries, Spain left its imprint across vast continents and distant oceans contributing in no minor way to the emergence of our globalised era. This was true not only in an economic sense-the Hispano-American silver peso transported across the Atlantic and the Pacific by the Spanish fleets was arguably the first global currency, thus facilitating the creation of a world economic system-but intellectually and artistically as well. The most extraordinary cultural exchanges took place in practically every corner of the Hispanic world, no matter how distant from the metropolis. At various times a descendant of the Aztec nobility was translating a Baroque play into Nahuatl to the delight of an Amerindian and mixed audience in the market of Tlatelolco; an Andalusian Dominican priest was writing the first Western grammar of the Chinese language in Fuzhou, a Chinese city that enjoyed a trade monopoly with the Spanish Philippines; a Franciscan friar was composing a piece of polyphonic music with lyrics in Quechua to be played in a church decorated with Moorish-style ceilings in a Peruvian valley; or a multi-ethnic team of Amerindian and Spanish naturalists was describing in Latin, Spanish and local vernacular languages thousands of medicinal plants, animals and minerals previously unknown to the West. And, most probably, at the same time that one of those exchanges were happening, the members of the School of Salamanca were laying the foundations of modern international law or formulating some of the first modern theories of price, value and money, Cervantes was writing Don Quixote, Velázquez was painting Las Meninas, or Goya was exposing both the dark and bright sides of the European Enlightenment. Actually, whenever we contemplate the galleries devoted to Velázquez, El Greco, Zurbarán, Murillo or Goya in the Prado Museum in Madrid; when we visit the National Palace in Mexico City, a mission in California, a Jesuit church in Rome or the Intramuros quarter in Manila; or when we hear Spanish being spoken in a myriad of accents in the streets of San Francisco, New Orleans or Manhattan we are experiencing some of the past and present fruits of an always vibrant and still expanding cultural community. As the reader can infer by now, this book is about how Spain and the larger Hispanic world have contributed to world history and in particular to the history of civilisation, not only at the zenith of the Hispanic Monarchy but throughout a much longer span of time.
Sensory Penalties aims to reinvigorate a conversation about the role of sensory experience in empirical investigation. It explores the visceral, personal reflections buried within forgotten criminological field notes, to ask what privileging these sensorial experiences does for how we understand and research spaces of punishment and social control.
The diary and essays of Brian Eno republished twenty-five years on with a new introduction by the artist in a beautiful hardback edition.'One of the seminal books about music . . . an invaluable insight into the mind and working practices of one of the industry's undeniable geniuses.'GUARDIANAt the end of 1994, Brian Eno resolved to keep a diary. His plans to go to the cinema, theatre and galleries fell quickly to the wayside. What he did do - and write - however, was astonishing: ruminations on his collaborative work with David Bowie, U2, James and Jah Wobble, interspersed with correspondence and essays dating back to 1978. These 'appendices' covered topics from the generative and ambient music Eno pioneered to what he believed the role of an artist and their art to be, alongside adroit commentary on quotidian tribulations and happenings around the world.This beautiful 25th-anniversary hardcover edition has been redesigned in the same size as the diary that eventually became this book. It features two ribbons, pink paper delineating the appendices (matching the original edition) and a two-tone paper-over-board cover, which pays homage to the original design.An intimate insight into one of the most influential creative artists of our time, A Year with Swollen Appendices is an essential classic.
The forgotten story of Central Asia's enlightenment—its rise, fall, and enduring legacy In this sweeping and richly illustrated history, S. Frederick Starr tells the fascinating but largely unknown story of Central Asia's medieval enlightenment through the eventful lives and astonishing accomplishments of its greatest minds—remarkable figures who built a bridge to the modern world. Because nearly all of these figures wrote in Arabic, they were long assumed to have been Arabs. In fact, they were from Central Asia—drawn from the Persianate and Turkic peoples of a region that today extends from Kazakhstan southward through Afghanistan, and from the easternmost province of Iran through Xinjiang, China. Lost Enlightenment recounts how, between the years 800 and 1200, Central Asia led the world in trade and economic development, the size and sophistication of its cities, the refinement of its arts, and, above all, in the advancement of knowledge in many fields. Central Asians achieved signal breakthroughs in astronomy, mathematics, geology, medicine, chemistry, music, social science, philosophy, and theology, among other subjects. They gave algebra its name, calculated the earth's diameter with unprecedented precision, wrote the books that later defined European medicine, and penned some of the world's greatest poetry. One scholar, working in Afghanistan, even predicted the existence of North and South America—five centuries before Columbus. Rarely in history has a more impressive group of polymaths appeared at one place and time. No wonder that their writings influenced European culture from the time of St. Thomas Aquinas down to the scientific revolution, and had a similarly deep impact in India and much of Asia. Lost Enlightenment chronicles this forgotten age of achievement, seeks to explain its rise, and explores the competing theories about the cause of its eventual demise. Informed by the latest scholarship yet written in a lively and accessible style, this is a book that will surprise general readers and specialists alike.
The First World War marked the end point of a process of German globalization that began in the 1870s. Learning Empire looks at German worldwide entanglements to recast how we interpret German imperialism, the origins of the First World War, and the rise of Nazism.
"Provides the cultural, archaeological, and historical contexts for a selection of thirty works of art in the Metropolitan Museum's collection"--Slipcase.
The first four issues of FLAPPERHOUSE, a zine of surreal, shadowy, sensual, satirical lit. Starring Ed Ahern, Daniel Ari, J. Bradley, Brendan Byrne, Diana Clarke, Juliet Cook, Julie C. Day, Cassandra de Alba, Samantha Duncan, Robin Wyatt Dunn, Angela Enos, Joel Enos, Mariev Finnegan, Foust, Carl Fuerst, Luis Galindo, Mitchell Krockmalnik Grabois, Phyllis Green, John Grey, M.N. Hanson, j/j hastain, Dylan Jackson, Jessie Janeshek, Mila Jaroniec, Alibi Jones, Rebecca Ann Jordan, Jeff Laughlin, Ashley Lister, Jennifer MacBain-Stephens, T. Mazzara, Alison McBain, Jenean McBrearty, Aoibheann McCann, Lonnie Monka, Anthony Michael Morena, Mari Ness, Joseph P. O'Brien, Emily O'Neill, Todd Pate, Frederick Pollack, Misti Rainwater-Lites, J.E. Reich, Amanda Sarasien, M.A. Schaffner, Lauren Seligman, Eric Siegelstein, Judith Skillman, Smith Smith, Reshad Staitieh, Tom Stephan, Samantha Eliot Stier, Bonnie Jo Stufflebeam, Cameron Suey, Natalia Theodoridou, Anna Tizard, Joseph Tomaras, and Dusty Wallace
IT was a dark, chilly night in September, 1884. A heavy gloom had descended over the streets of A——, a small town on the Rhine, and was hanging like a black funeral-pall over the dull factory burgh. The greater number of its inhabitants, wearied by their long day’s work, had hours before retired to stretch their tired limbs, and lay their aching heads upon their pillows. All was quiet in the large house; all was quiet in the deserted streets. I too was lying in my bed; alas, not one of rest, but of pain and sickness, to which I had been confined for some days. So still was everything in the house, that, as Longfellow has it, its stillness seemed almost audible. I could plainly hear the murmur of the blood, as it rushed through my aching body, producing that monotonous singing so familiar to one who lends a watchful ear to silence. I had listened to it until, in my nervous imagination, it had grown into the sound of a distant cataract, the fall of mighty waters ... when, suddenly changing its character, the ever growing “singing” merged into other and far more welcome sounds. It was the low, and at first scarce audible, whisper of a human voice. It approached, and gradually strengthening seemed to speak in my very ear. Thus sounds a voice speaking across a blue quiescent lake, in one of those wondrously acoustic gorges of the snow-capped mountains, where the air is so pure that a word pronounced half a mile off seems almost at the elbow. Yes; it was the voice of one whom to know is to reverence; of one, to me, owing to many mystic associations, most dear and holy; a voice familiar for long years and ever welcome: doubly so in hours of mental or physical suffering, for it always brings with it a ray of hope and consolation. “Courage,” it whispered in gentle, mellow tones. “Think of the days passed by you in sweet associations; of the great lessons received of Nature’s truths; of the many errors of men concerning these truths; and try to add to them the experience of a night in this city. Let the narrative of a strange life, that will interest you, help to shorten the hours of suffering.... Give your attention. Look yonder before you!” “Yonder” meant the clear, large windows of an empty house on the other side of the narrow street of the German town. They faced my own in almost a straight line across the street, and my bed faced the windows of my sleeping room. Obedient to the suggestion, I directed my gaze towards them, and what I saw made me for the time being forget the agony of the pain that racked my swollen arm and rheumatical body.