Download Free Elisabeth Tonnard Book in PDF and EPUB Free Download. You can read online Elisabeth Tonnard and write the review.

INTERNATIONAL BESTSELLER • NATIONAL BOOK CRITICS CIRCLE FINALIST • From the award-winning, internationally bestselling Spanish author of A Heart So White comes an immersive, provocative novel propelled by a seemingly random murder. "Sometimes startling, sometimes hilarious, and always intelligent ... Marías [has] a penetrating empathy."—The New York Times Book Review Each day before work María Dolz stops at the same café. There she finds herself drawn to a couple who is also there every morning. Observing their seemingly perfect life helps her escape the listlessness of her own. But when the man is brutally murdered and María approaches the widow to offer her condolences, what began as mere observation turns into an increasingly complicated entanglement. Invited into the widow's home, she meets—and falls in love with—a man who sheds disturbing new light on the crime. As María recounts this story, we are given a murder mystery brilliantly encased in a metaphysical enquiry, a novel that grapples with questions of love and death, chance and coincidence, and above all, with the slippery essence of the truth and how it is told.
Fotografien sind nicht nur Bilder, sondern auch dreidimensionale Objekte. Sie werden in die Hand genommen, gewendet, bearbeitet, gerahmt, verschickt, ins Internet gestellt, weggeworfen oder gelöscht. Seit dem 19. Jahrhundert sammeln Wissenschaftlerinnen und Wissenschaftler Fotografien und legen umfangreiche Bildarchive an, die auch heute, im digitalen Zeitalter, nichts von ihrer Relevanz und Brisanz verloren haben. Das Buch versammelt Beiträge über die Arbeit an und mit Foto-Objekten aus vier Fotoarchiven in Berlin und Florenz. Ergänzt wird diese Zusammenstellung durch die Perspektiven verschiedener Künstlerinnen und Künstler.
An argument that theoretical works can signify through their materiality—their “noise,” or such nonsemantic elements as typography—as well as their semantic content. In Material Noise, Anne Royston argues that theoretical works signify through their materiality—such nonsemantic elements as typography or color—as well as their semantic content. Examining works by Jacques Derrida, Avital Ronell, Georges Bataille, and other well-known theorists, Royston considers their materiality and design—which she terms “noise”—as integral to their meaning. In other words, she reads these theoretical works as complex assemblages, just as she would read an artist's book in all its idiosyncratic tangibility. Royston explores the formlessness and heterogeneity of the Encyclopedia Da Costa, which published works by Bataille, André Breton, and others; the use of layout and white space in Derrida's Glas; the typographic illegibility—“static and interference”—in Ronell's The Telephone Book; and the enticing surfaces of Mark C. Taylor's Hiding, its digital counterpart The Réal: Las Vegas, NV, and Shelley Jackson's Skin. Royston then extends her analysis to other genres, examining two recent artists' books that express explicit theoretical concerns: Johanna Drucker's Stochastic Poetics and Susan Howe's Tom Tit Tot. Throughout, Royston develops the concept of artistic arguments, which employ signification that exceeds the semantics of a printed text and are not reducible to a series of linear logical propositions. Artistic arguments foreground their materiality and reflect on the media that create them. Moreover, Royston argues, each artistic argument anticipates some aspect of digital thinking, speaking directly to such contemporary concerns as hypertext, communication theory, networks, and digital distribution.
From 2008 to 2010, AA Bronson and Peter Hobbs collaborated to convene small groups of men in various locations throughout Canada and the United States in a secret group ritual known as "Invocation of the Queer Spirits." Invoking the queer and marginalized histories of each site in celebrations of sexuality and memorialisation, the groups performed something that Bronson has characterized as "a hybrid between group therapy, ceremonial magic, a séance and a quilting bee." Queer Spirits explores all five performances in five chapters of photographic essays together with a brilliant and frequently humorous reflection on queer animals, forest rangers, shamanism and alfresco sex by Peter Hobbs.
Literary Nonfiction. Art. Despite the fact that the field of artists' books has grown steadily since the mid-sixties, the discourse has been largely under- theorized. BLURRED LIBRARY: ESSAYS ON ARTISTS' BOOKS, is a stunning collection of the most revered essays by Tate Shaw, the Director of Visual Studies Workshop. For years, Shaw's contributions to the field of artists' books as a theorist, artist, writer, historian, and teacher have been celebrated internationally, but have largely gone undocumented, until now. Shaw's versatility as a scholar and artist allow him to take a holistic approach to his subject that is historical, conceptual, anecdotal, contemplative, and engaging. BLURRED LIBRARY is an indispensible contribution to the field of artists' books, essential reading for emerging and seasoned artists and scholars alike. Lavishly illustrated throughout by photographer Doug Manchee.
Poetry. Art. IF REAL POWER BEGINS WHERE SECRECY BEGINS, THEN, AS WE FRANTICALLY SEARCH FOR DICK PICS OF JUSTIN BIEBER OR OUR NEXT DOOR NEIGHBOR WHO WE'RE CONVINCED POSTED THE FACELESS CRAIGSLIST AD SEEKING AN ASIAN BOTTOM, WE'RE SEDUCED INTO A BEAUTIFUL DISTRACTION IN WHICH WE ARE CONVINCED, BY VIRTUE OF OUR VICTORIOUS TOPPLING OF THE LIVES OF OTHERS, THAT WE INDEED HAVE NOTHING TO HIDE.
An examination of a series of diverse, radical, and experimental international works from the 1950s to the present. What is a literary work? In Literature’s Elsewheres, Annette Gilbert tackles this question by deploying an extended concept of literature, examining a series of diverse, radical, experimental works from the 1950s to the present that occupy the liminal zone between art and literature. These works—by American Artist, Allison Parrish, Natalie Czech, Stephanie Syjuco, Fiona Banner, Elfriede Jelinek, Dan Graham, Robert Barry, George Brecht, and others—represent a pluralized literary practice that imagines a different literature emerging from its elsewheres. Investigating a work’s coming into being—its transition from “text” to “work” as a social object and pragmatic category of literary communication—Gilbert probes the assumptions and foundations that underpin literature, including the ideologies and power structures that prop it up. She offers a snapshot from a period of recent literary and art history when such central concepts as originality and authorship were questioned and experimental literary practices ranged from concrete poetry and Oulipo to conceptual writing and appropriation literature. She examines works that are dematerialized, site-specific, unique copies of other works, and institutional critiques. Considering the inequalities, exclusions, and privileges inscribed in literature, she documents the power of experimental literature to attack these norms and challenges the field’s canonical geographic boundaries by examining artists with roots in North and South America, East Asia, and Western and Eastern Europe. The cross-pollination of literary and art criticism enriches both fields. With Literature’s Elsewheres, Gilbert explores what art can’t see about the literary and what literature has overlooked in the arts.