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Throughout human history, people have imagined inanimate objects to have intelligence, language, and even souls. In our secular societies today, we still willingly believe that nonliving objects have lives of their own as we find ourselves interacting with computers and other equipment. In On the Animation of the Inorganic, Spyros Papapetros examines ideas about simulated movement and inorganic life during and after the turn of the twentieth century—a period of great technical innovation whose effects continue to reverberate today. Exploring key works of art historians such as Aby Warburg, Wilhelm Worringer, and Alois Riegl, as well as architects and artists like Fernand Léger, Mies van der Rohe, and Salvador Dalí, Papapetros tracks the evolution of the problem of animation from the fin de siècle through the twentieth century. He argues that empathy—the ability to identify with objects of the external world—was repressed by twentieth-century modernist culture, but it returned, projected onto inorganic objects such as machines, automobiles, and crystalline skyscrapers. These modern artifacts, he demonstrates, vibrated with energy, life, and desire of their own and had profound effects on people. Subtle and insightful, this book will change how we view modernist art, architecture, and their histories.
Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism. The essays in Biocentrism and Modernism contend that it is no accident that Modernism arose at the same time as the field of modern biology. From nineteenth-century discoveries, to the emergence of the current environmentalist movement during the 1960s, artists, architects, and urban planners have responded to currents in the scientific world. Sections of the volume treat both philosophic worldviews and their applications in theory, historiography, and urban design. This collection also features specific case studies of individual artists, including Raymond Duchamp-Villon, Paul Klee, Wassily Kandinsky, and Jackson Pollock.
Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler
The easy way to get a grip on inorganic chemistry Inorganic chemistry can be an intimidating subject, but it doesn't have to be! Whether you're currently enrolled in an inorganic chemistry class or you have a background in chemistry and want to expand your knowledge, Inorganic Chemistry For Dummies is the approachable, hands-on guide you can trust for fast, easy learning. Inorganic Chemistry For Dummies features a thorough introduction to the study of the synthesis and behavior of inorganic and organometallic compounds. In plain English, it explains the principles of inorganic chemistry and includes worked-out problems to enhance your understanding of the key theories and concepts of the field. Presents information in an effective and straightforward manner Covers topics you'll encounter in a typical inorganic chemistry course Provides plain-English explanations of complicated concepts If you're pursuing a career as a nurse, doctor, or engineer or a lifelong learner looking to make sense of this fascinating subject, Inorganic Chemistry For Dummies is the quick and painless way to master inorganic chemistry.
In The Sex Appeal of the Inorganic, Mario Perniola puts forth the radical argument that we are shifting away from organic sexuality, based on desire and pleasure, and moving towards a more neutral inorganic and artificial sexuality, a sexuality always available but indifferent to beauty, age or form. Perniola takes the reader on a tour of Western philosophy, from Descartes, Kant and Hegel to Heidegger, Wittgenstein and Sartre, to reframe our understanding of personal experience and the aesthetic world around us. In order to realize the sex appeal of the inorganic Perniola argues that we must become 'things that feel', we must think ourselves closer to the inorganic, creating an alliance between senses and things. Examples from contemporary culture that, for Perniola, are emblems of the sex appeal of the inorganic, include progressive rock music, fashion, deconstructive architecture and the novels of Georges Perec.
In attending to surfaces, as they wrap, layer and grow within sentient bodies, material formations and cosmological states, this volume presents a series of ten anthropological studies stretching across five continents and in observation of earthly practices of making, knowing, living and dying. Through theoretically reflecting on time spent with Aymara and Mapuche Andean cultures; the Malagasy people of Madagascar; craftspeople and designers across Europe and Oceania; amongst the architectures of Australia and South Korea and within the folds of books, screens, landscape and the sea, the anthropologists in this volume communicate diverse ways of considering, working with and knowing surfaces. Together, these writings advance a knowledge of the world which resists any definitive settlement of existential categories and rather seeks to know the world in its emergence and transformation, as entities grow, cohere, shift, dissolve, decay and are reborn through the contact and exchange of surfaces, persisting with varying time, power and effect. The book principally invites readers from anthropology, the creative arts and environmental studies, but also across the wider humanities and social sciences as well as those in neighbouring scientific fields of archaeology, biology, geography, geoscience, material science, neurology and psychology interested in the intersections of mind, body, materials and world.
Winner of the 2019 Robert S. Liebert Award (established jointly by the Association for Psychoanalytic Medicine and the Columbia University Center for Psychoanalytic Training and Research) In the final years of the 19th century, Sigmund Freud began to construct evidence for the workings of an “unconscious.” On Dangerous Ground offers an innovative assessment of the complex role that his encounters with visual cultures-architecture, objects from earlier cultural epochs (“antiquities”), paintings, and illustrated books-played in that process. Diane O'Donoghue introduces, often using unpublished archival sources, the ways in which material phenomena profoundly informed Freud's decisions about what would, and would not, constitute the workings of an inner life. By returning to view content that Freud treated as forgettable, as distinct from repressed, O'Donoghue shows us a realm of experiences that Freud wished to remove from psychical meaning. These erasures form an amnesic core within Freud's psychoanalytic project, an absence that includes difficult aspects of his life narrative, beginning with the dislocations of his early childhood that he declared “not worth remembering.” What is made visible here is far from the inconsequential surface of experience; rather, we are shown a dangerous ground that exceeds the limits of what Freud wished to include within his early model of mind. In Freud's relation to visual cultures we find clues to what he attempted, in crafting his unconscious, to remove from sight.
Margareta Ingrid Christian unpacks the ways in which, around 1900, art scholars, critics, and choreographers wrote about the artwork as an actual object in real time and space, surrounded and fluently connected to the viewer through the very air we breathe. Theorists such as Aby Warburg, Alois Riegl, Rainer Maria Rilke, and the choreographer Rudolf Laban drew on the science of their time to examine air as the material space surrounding an artwork, establishing its “milieu,” “atmosphere,” or “environment.” Christian explores how the artwork’s external space was seen to work as an aesthetic category in its own right, beginning with Rainer Maria Rilke’s observation that Rodin’s sculpture “exhales an atmosphere” and that Cezanne’s colors create “a calm, silken air” that pervades the empty rooms where the paintings are exhibited. Writers created an early theory of unbounded form that described what Christian calls an artwork’s ecstasis or its ability to stray outside its limits and engender its own space. Objects viewed in this perspective complicate the now-fashionable discourse of empathy aesthetics, the attention to self-projecting subjects, and the idea of the modernist self-contained artwork. For example, Christian invites us to historicize the immersive spatial installations and “environments” that have arisen since the 1960s and to consider their origins in turn-of-the-twentieth-century aesthetics. Throughout this beautifully written work, Christian offers ways for us to rethink entrenched narratives of aesthetics and modernism and to revisit alternatives.
Ornamentalism offers one of the first sustained and original theories of Asiatic femininity. Examining ornamentality, in lieu of Orientalism, as a way to understand the representation, circulation, and ontology of Asiatic femininity, this study extends our vocabulary about the woman of color beyond the usual platitudes about objectification.