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"There is much to love between this book’s covers. . . . There are many eureka moments in Life Sculpted—and some truly beautiful ones."—Eugenia Bone, Wall Street Journal Meet the menagerie of lifeforms that dig, crunch, bore, and otherwise reshape our planet. Did you know elephants dig ballroom-sized caves alongside volcanoes? Or that parrotfish chew coral reefs and poop sandy beaches? Or that our planet once hosted a five-ton dinosaur-crunching alligator cousin? In fact, almost since its fascinating start, life was boring. Billions of years ago bacteria, algae, and fungi began breaking down rocks in oceans, a role they still perform today. About a half-billion years ago, animal ancestors began drilling, scraping, gnawing, or breaking rocky seascapes. In turn, their descendants crunched through the materials of life itself—shells, wood, and bones. Today, such “bioeroders” continue to shape our planet—from the bacteria that devour our teeth to the mighty moon snail, always hunting for food, as evidenced by tiny snail-made boreholes in clams and other moon snails. There is no better guide to these lifeforms than Anthony J. Martin, a popular science author, paleontologist, and co-discoverer of the first known burrowing dinosaur. Following the crumbs of lichens, sponges, worms, clams, snails, octopi, barnacles, sea urchins, termites, beetles, fishes, dinosaurs, crocodilians, birds, elephants, and (of course) humans, Life Sculpted reveals how bioerosion expanded with the tree of life, becoming an essential part of how ecosystems function while reshaping the face of our planet. With vast knowledge and no small amount of whimsy, Martin uses paleontology, biology, and geology to reveal the awesome power of life’s chewing force. He provokes us to think deeply about the past and present of bioerosion, while also considering how knowledge of this history might aid us in mitigating and adapting to climate change in the future. Yes, Martin concedes, sometimes life can be hard—but life also makes everything less hard every day.
Artists around the world have lately been turning to their bookshelves for more than just a good read, opting to cut, paint, carve, stitch or otherwise transform the printed page into whole new beautiful, thought-provoking works of art. Art Made from Books is the definitive guide to this compelling art form, showcasing groundbreaking work by today's most showstopping practitioners. From Su Blackwell's whimsical pop-up landscapes to the stacked-book sculptures of Kylie Stillman, each portfolio celebrates the incredible creative diversity of the medium. A preface by pioneering artist Brian Dettmer and an introduction by design critic Alyson Kuhn round out the collection.
Cob, a structural composite of earth, water, straw, clay, and sand, has been used for centuries, in virtually all parts of the world, to create homes ranging from mud huts in Africa to lavish adobe haciendas in Latin America. This practical and inspiring hands-on guide teaches anyone to build a cob dwelling.
Sound and statuary have had a complicated relationship in Western aesthetic thought since antiquity. Taking as its focus the sounding statue—a type of anthropocentric statue that invites the viewer to imagine sounds the statue might make—The Sculpted Ear rethinks this relationship in light of discourses on aurality emerging within the field of sound studies. Ryan McCormack argues that the sounding statue is best thought of not as an aesthetic object but as an event heard by people and subsequently conceptualized into being through acts of writing and performance. Constructing a history in which hearing plays an integral role in ideas about anthropocentric statuary, McCormack begins with the ancient sculpture of Laocoön before moving to a discussion of the early modern automaton known as Tipu’s Tiger and the statue of the Commendatore in Mozart’s Don Giovanni. Finally, he examines statues of people from the present and the past, including the singer Josephine Baker, the violinist Aleksandar Nikolov, and the actor Bob Newhart—with each case touching on some of the issues that have historically plagued the aesthetic viability of the sounding statue. McCormack convincingly demonstrates how sounding statues have served as important precursors and continuing contributors to modern ideas about the ontology of sound, technologies of sound reproduction, and performance practices blurring traditional divides between music, sculpture, and the other arts. A compelling narrative that illuminates the stories of individual sculptural objects and the audiences that hear them, this book will appeal to anyone interested in the connections between aurality and statues in the Western world, in particular scholars and students of sound studies and sensory history.
Humans have "gone underground" for survival for thousands of years, from underground cities in Turkey to Cold War-era bunkers. But our burrowing roots go back to the very beginnings of animal life on Earth. Many animal lineages alive now—including our own—only survived a cataclysmic meteorite strike 65 million years ago because they went underground.On a grander scale, the chemistry of the planet itself had already been transformed many millions of years earlier by the first animal burrows which altered whole ecosystems. Every day we walk on an earth filled with an underground wilderness teeming with life. Most of this life stays hidden, yet these animals and their subterranean homes are ubiquitous, ranging from the deep sea to mountains, from the equator to the poles. Burrows are a refuge from predators, a safe home for raising young, or a tool to ambush prey. Burrows also protect animals against all types of natural disasters. Filled with spectacularly diverse fauna, acclaimed paleontologist and ichnologist Anthony Martin reveals this fascinating, hidden world that will continue to influence and transform life on this planet.
This book explores the issue of ecclesiastical authority in Romanesque sculpture on the portals and other sculpted “gateways” of churches in the north Italian region of Lombardy. Gillian B. Elliott examines the liturgical connection between the ciborium over the altar (the most sacred threshold inside the church), and the sculpted portals that appeared on church exteriors in medieval Lombardy. In cities such as Milan, Civate, Como, and Pavia, the liturgy of Saint Ambrose was practiced as an alternative to the Roman liturgy and the churches were constructed to respond to the needs of Ambrosian liturgy. Not only do the Romanesque churches in these places correspond stylistically and iconographically, but they were also linked politically in an era of intense struggle for ultimate regional authority. The book considers liturgical and artistic links between interior church furnishings and exterior church sculptural programs, and also applies new spatial methodologies to the interior and exterior of churches in Lombardy. The book will be of interest to scholars working in art history, medieval studies, architectural history, and religious studies.
Have you ever wondered what left behind those prints and tracks on the seashore, or what made those marks or dug those holes in the dunes? Life Traces of the Georgia Coast is an up-close look at these traces of life and the animals and plants that made them. It tells about how the tracemakers lived and how they interacted with their environments. This is a book about ichnology (the study of such traces) and a wonderful way to learn about the behavior of organisms, living and long extinct. Life Traces presents an overview of the traces left by modern animals and plants in this biologically rich region; shows how life traces relate to the environments, natural history, and behaviors of their tracemakers; and applies that knowledge toward a better understanding of the fossilized traces that ancient life left in the geologic record. Augmented by illustrations of traces made by both ancient and modern organisms, the book shows how ancient trace fossils directly relate to modern traces and tracemakers, among them, insects, grasses, crabs, shorebirds, alligators, and sea turtles. The result is an aesthetically appealing and scientifically grounded book that will serve as source both for scientists and for anyone interested in the natural history of the Georgia coast.
Sculpted Ambiances in Africana Landscape centers on ambiance as it affects the expanded sculptural field, particularly filling a gap in aesthetics left by a lack of focus on sculptures and installations in the Africana world and elsewhere. This book differentiates ambiance from other affective states and emotions and explores its production. It provides an introduction to the history of ambiance and vividly demonstrates, through immersive and experiential writing, how ambiance manifests in different artistic situations and social settings. The book considers the neglected and unique importance of sculptural ambiance to the history of Africana visual culture, and what these works mean in terms of their social, historical, cultural, political, and ecological imagination of space. The book is written in an episodic style and begins with a description of an image before presenting an analysis of the artist’s style and staging for ambient experience. This book will benefit college and university students; scholars of art, architecture, aesthetics, philosophy, geography, anthropology, and sociology; and curators and galleries.
This book introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the west. In each of the eleven chapters, a number of selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture – objects peculiar to place, time and context. Within each cultural framework, characteristics are observable that suggest various reasons for the use of colour in sculpture. These encompass local preferences, customs or cultural requirements; and others point to an impulse to enhance the expression of the phenomenal. Whether colour is really necessary or even essential to sculpted works of art is a question especially pertinent since the Renaissance. Surface finishes of sculptural representations may allude to the sensory world of colour without even having pigment applied to them. What makes polychromy so special is that it functions as an overlay of another dimension that sometimes carries further encoded meaning. In nature, the colour is integral to the given object. What the present survey suggests is that the relationship between colour and sculpture is a matter of intentional expression, even where the colour is intrinsic – as in the sculptor’s materials.
In the course of history, Italian sculptors have "sculpted" in their works diverse secrets of the Bible, Greek mythology and current events. This book illustrates the creative means they used.