#harpercollins exhibition space | Explore Tumblr Posts and Blogs

janlesak · 8 months

Text

The aim of the Inner Image. Appearing / disappearing images exhibition is to present the complex structure of artistic reflection which is often concerned with issues of truth in the artwork and its relation to the real world. In their work, artists draw a boundary between the image of reality and its internal reflection.

The nature of contemporary artwork reveals artists’ ability to respond to latest technologies. They are, in a sense, a medium of humanization, or making the world of people ‘human’. If we try to generalize and present in an artwork a formal truth which finds its way to the surface, into the space of the image, then we confine our attention to the shape that has been immortalized in the truth – and to the truth immortalized in the shape.*

Some works displayed at the show may appear simple, and yet they hide elaborate content based on philosophical reflection, social and political relations, scientific concepts or, sometimes, pure intuition. But they all refer to the ‘inner truth’ of the work which stems from the impulse to take a critical look at reality. Western culture and philosophy pushes disappearance, void and nothingness into the background as phenomena related to passing, eradication or concealment. Still, representing nothingness is meaningful.

In Jaromír Novotný’s work the properties of material, the transparency of light and the surface of picture are brought about by numerous fairly simple interactions. Aleš Čermák’s magic images – especially the AISandSIA video – display themes of both sophisticated state-of-the-art technology and primitivism which evidence the softness and brutality of religious and political institutions or totalitarian regimes as instruments that erase human traces. In Echo, a series of acoustic drawings by Daniel Hanzlík, the artist’s gesture, guided by a mental sound signal, becomes an instrument harmonizing the inner rhythms of the sound and the author’s thoughts. His almost mechanical precision brings a machine to mind. In the Light Sleep project, the artistic duo Julia Gryboś and Barbora Zentková investigate sleep as a state of apparent inactivity. Yet we know very well that many actions and changes happen during sleep. Milan Houser uses fluorescent varnish which produce effects of darkness and light. As a result, his works show a new reality and gain a different dimension. Jan Lesák explores the limits of the medium of photography. In his project called Running in Haze, he suggests unclear and blurred boundaries between reality and representation. Svätopluk Mikyta is a distinguished figure on the Czechoslovak art scene. In his prints, he refers to the ideological communist past, as well as to history in general, or to local traditions and memory. Josef Mladějovski examines the basic problem of modernism: ideas of utopian meanings and gestures. Their significance is critically revaluated in his work. Pavel Mrkus’s video installation addresses the question of media which appropriate privacy – after all, the drone is a surveillance device. The principle behind the work consists in relaxing the form by radical repetition of fast changing image frequency. Gregor Eldarb’s work is an extension of spectacular urban visions, turned by the artist into unforgettable structural models. Libor Novotný’s object Wooden Web signals a characteristic feature of the artist’s reflections. For him, the work tends to be a semantic code, whose processual and ephemeral nature makes it changeable in accordance with physical phenomena, targeted at the viewer’s attention. We would like to foreground the critical and social role of art, communicated in a universal language. The participating artists employ a wide range of techniques and methods of creative work: installations, painting, drawing and video. -

* M. Heidegger, ‘The Origin of the Work of Art’, [in:] M. Heidegger, Basic Writings, New York: HarperCollins, 2008.

Inner Image Appearing / disappearing images

‘Internal reflection, minimal exposure between two concepts.’

Western philosophy and culture are chiefly preoccupied with the concept of discovery, while the question of disappearance tends to be disregarded: aesthetics, epistemology, religious or technical experience rely on the premise that something will emerge/appear that can be sensed, imagined and conceptualized. In this ontological preference the emphasis is on arising and realizing, while the process of decomposition, decay, destruction or destabilization of forms and relations is neglected. Still, disappearance is of utmost importance despite its inferior place in Western thought. Religious and political institutions as well as logic have tried their hardest to destroy and nullify everything contrary or problematic, not to mention totalitarian regimes which obliterate human traces. This is most conspicuous in high-tech societies, accountable for dramatic disappearance (of bodies, realities, forms, etc.), virtualization and dematerialization.

At the notional level, discovery and disappearance can be revealed through art. Disappearance may be linked to passing, destruction, removing from view or repositioning. Identity of a concealed picture (virtual world) is defined by destruction and the speed at which each forms here disappears. This is emptiness which is not nothingness but virtuality; it embraces all possible forms that can be uncovered so that they can instantly vanish without consequence. Nothing causes more disquiet than Something. An idea which disappears is, to a large degree, shaped by forgetting.

It is therefore practically impossible to analyze these two processes separately. They permeate each other and pose the question of place and time: where/when something disappears and where/when something appears?

‘…painting perceives itself as a model (pure view) and keeps returning to itself by obsessively repeating the code. Let us remember that behind simulation of reality there is always the reality of painting which will never surpass its own shadow.’

‘And so art is everywhere, since artifice is at the very heart of reality. And so art is dead, not only because its critical transcendence is gone, but because reality itself, entirely impregnated by an aesthetic which is inseparable from its own structure, has been confused with its own image. Reality no longer has the time to take on the appearance of reality. It no longer even surpasses fiction: it captures every dream even before it takes on the appearance of a dream. Schizophrenic vertigo of these serial signs, for which no counterfeit, no sublimation is possible, immanent in their repetition-who could say what the reality is that these signs simulate? They no longer even repress anything (which is why, if you will, simulation pushes us close to the sphere of psychosis). Even the primary processes are abolished in them. The cool universe of digitality has absorbed the world of metaphor and metonymy. The principle of simulation wins out over the reality principle just as over the principle of pleasure.’*

* J. Baudrillard, excerpt from Simulations, 1983, http://www.english.txstate.edu/cohen_p/postmodern/theory/baudrillard.html.

Curator - František Kowolowski

Installation view, INNER PICTURE. APPEARING AND DISAPPEARING IMAGES. Galeria Arsenale, Bialystok, Poland, 2017

#art #conceptual #photography #group exhibition #abstract #black and white

1 note · View note

asianartsblog · 8 months

Text

Remember, Reflect, Hope & Heal

Spring 2024 with AA&CC

Exhibition

Dream Refuge for children imprisoned

February 7 – May 18 (closed March 17-24)

Monday – Saturday 11 am – 4 pm

Asian Arts Gallery, Center for the Arts, Towson University

1 Fine Arts Drive, Towson, MD 21204

Contemplate and be inspired to improve the plight of imprisoned children across history and the world. While children safely slumber in this quiet, sacred, healing space by artist, Na Omi Judy Shintani, gain insight into the experiences of Japanese American children who were incarcerated in American concentration camps during World War II (Shintani’s own father being one of them), Native American boarding school children who were denied their culture and taken from their communities, and the Central American children who are imprisoned, separated from their families, and living in squalid, unsafe conditions at the southern U.S. border.

Opening Reception & Artist Talk

Na Omi Judy Shintani: Dream Refuge for children imprisoned

Wednesday, February 7, 7:30pm

Asian Arts Gallery & Center for the Arts Atrium, Towson University

1 Fine Arts Drive, Towson, MD 21204

Join artist, Na Omi Judy Shintani, to learn about the stories that inspired her installation, Dream Refuge for children imprisoned, the roles that research and protest play in her work, and her hopes for embracing all children as our own, as ourselves, as our future.

Mini-Exhibition

Children’s Book Art by Japanese American Illustrators

February 7 – May 18 (closed March 17-24)

Asian Arts Gallery Corridor Vitrines, Center for the Arts, Towson University

1 Fine Arts Drive, Towson, MD 21204

Delight in the imaginative worlds of award-winning children’s book illustrators, Melissa Iwai and Katie Yamasaki, while learning about courage, love and adaptation by an incarcerated Japanese American family; intercultural sharing among immigrant families; and multicultural Zen-inspired stories. Become energized to support the welfare of children, intercultural understanding, healing, and peace.

AA&CC is proud to co-sponsor…

Lecture

Making Sense of America Lecture Series with Dr. Theo Gonzalves

Towson University, Liberal Arts Building, Room 4310

251 University Ave., Towson, MD 21204

Dr. Theodore Gonzalves, curator at the Smithsonian National Museum of American History discusses his new book, Smithsonian Asian Pacific American History, Art, and Culture in 101 Objects. Co-sponsored with the TU Program in American Studies, TU Department of Art + Design, Art History and Art Education, TU Center for Student Diversity, TU Graduate Program in Global Humanities, and TU Department of History

AA&CC is proud to co-present…

Panel Discussion

Journeys in Children’s Book Illustration

Tuesday, March 5. 5:30pm

Towson University, Center for the Arts

Art Lecture Hall, Room 2032

1 Fine Arts Drive, Towson, MD 21204

Award-winning children’s book authors and illustrators, Melissa Iwai and Katie Yamasaki, share their art, books, personal stories, and techniques for reaching young audiences through visual storytelling. Their publishers include Norton Young Readers, HarperCollins, Broadway Books and more. Co-presented with TU Career Center and TU Animation Club.

AA&CC is a proud partner…

Film

Where Chimneys are Seen (煙突の見える場所, Entotsu no mieru basho)

Saturday, March 16, 1pm

Towson University, Center for the Arts

Art Lecture Hall, Room 2032

1 Fine Arts Drive, Towson, MD 21204

FREE Registration Required: https://docs.google.com/.../1FAIpQLSfhII5CGTju.../viewform

Enjoy this rare screening of a 1953 classic comic drama from Reed Hessler’s private collection. It is based on the novel, Mujaki no Hitobito, by Rinzo Shiina and is representative of the shoshimin-eiga film drama focusing on the lives of ordinary middle-class people. Delight in the drama swirling around a mysterious baby who is left at the home of Hiroko and Ryukichi Ogata. Directed by Heinosuke Gosho. Hosted by Reed Hessler, longtime host on WBJC. Co-presented with the Baltimore Kawasaki Sister City Committee (BKSCC) and TU College of Fine Arts and Communication Dean’s Office.

Exhibition & Festival

Asia North 2024

Exhibit Opening Reception and Celebration: Friday, May 3

Exhibition and Festival: May 3 – June 1

The 6th annual Asia North community exhibition and festival celebrates Baltimore’s Charles North (a.k.a. Station North) neighborhood’s constantly evolving identities as a Koreatown, arts district, and creative center. Co-presented with the Central Baltimore Partnership.

Details TBD.

AA&CC is a proud partner…

Film

Early Summer (麦秋, Bakushū)

Saturday, May 18, 1pm

Towson University, Center for the Arts

Art Lecture Hall, Room 2032

1 Fine Arts Drive, Towson, MD 21204

FREE Registration Required: https://docs.google.com/.../1FAIpQLSczjD.../viewform

Enjoy this rare screening of a 1951 classic drama from Reed Hessler’s private collection which explores post-World War II social transformation—especially intergenerational conflict, a family’s involvement in a young woman’s (Noriko) decision about marriage, and her will for independence. Directed by Yasujiro Ozu. Hosted by Reed Hessler, longtime host on WBJC. Co-presented with the Baltimore Kawasaki Sister City Committee (BKSCC) and TU College of Fine Arts and Communication Dean’s Office.

AA&CC is a proud partner…

Film

The Story of the Last Chrysanthemum (残菊物語, Zangiku monogatari)

Saturday, July 20, 1pm

Towson University, Center for the Arts

Art Lecture Hall, Room 2032

1 Fine Arts Drive, Towson, MD 21204

FREE Registration Required https://docs.google.com/.../1FAIpQLSeOW3e1R8XAL1.../viewform

Enjoy this rare screening of a 1939 classic drama from Reed Hessler’s private collection.

Based on a short story by Shofu Muramatsu, it follows the struggles and transformation of Kiku, the adopted son of a kabuki master. Directed by Kenji Mizoguchi. Hosted by Reed Hessler, longtime host on WBJC. Co-presented with the Baltimore Kawasaki Sister City Committee (BKSCC) and TU College of Fine Arts and Communication Dean’s Office.

0 notes

junker-town · 4 years

Text

Media Club: The Color of Air

We take a look at Gail Tsukiyama’s new novel and also at a less-new painting

Book: The Color of Air

Gail Tsukiyama’s The Color of Air is set on Hawaii’s Big Island in the early 1930s. The Great Depression is ravaging the United States. War with Japan — and the horrors that war will inflict on the Japanese-American community Tsukiyama depicts — is on the horizon. There was, in other words, a lot going on back then.

It’s therefore surprising that The Color of Air elides the big events of the 30s, becoming instead a perfect book for our time. The globe-shaking events fade into the background, becoming part of the audience’s relationship with the characters rather than debase themselves in the text itself.

I found myself wondering, for instance, where Dr. Daniel Abe, the Chicago-trained pride of Hilo, might end up in ten years. In an internment camp? Island-hopping with Nimitz’s Marines? Tsukiyama isn’t interested in those questions. With one exception, her story focuses on Hilo’s inhabitants, past and present.

That exception is what gives The Color of Air its direct relevance to now. While Tsukiyama’s readers face Pestilence, Hilo’s inhabitants must deal with Pele’s contemptuous wrath. Mauna Loa is erupting. The lava flow endangers the village. The inhabitants live out their lives under the uncertainty of annihilation. This grim doom, avoided by some, confronted head-on by others, is the real backdrop of the story, just as pandemic harries the landscape of our collective 2020.

Two things breathe life into Tsukiyama’s Hawaii. The first is her glorious use of language, painting the sights and particularly smells of this tropical idyll. Mangos rot, pungent in the heat. Mauna Loa’s sulfuric belches slowly overwhelm the village. And then there are her characters. Tsukiyama’s kinetic prose is best realised in Koji Sanada, a partly-retired cane-cutter who was once one of Puli Plantation’s most valued hands. Koji moves gracefully through both space and time, and it’s through him which The Color of Air’s theme shines brightest.

Koji is haunted by the past even as his friends rely on him in the present. His narrative is woven deftly, and it’s paralleled in the rest of Hilo’s inhabitants, all marked by some combination of guilt, shame and regret, but all leaning on each other for strength. Tsukiyama’s story is of mutual support through dread, past, present and future. We might be more scattered than the residents of mid-30s Hilo, but The Color of Air still resonates in the here and now.

HarperCollins, 2020

Art: A Girl at a Window

London’s museums started to re-open in August, and since I have my doubts as to how long they’ll stay open, I took immediate advantage of the opportunity to re-visit the National Gallery, which is one of my favourite spots. They hosting an exhibition of Titian’s Poesie (Metamorphoses) series, which I’ve been interested in for some time, and I was also hoping for a chance to re-acquaint myself with some lesser-known pals.

The best spot in the Gallery is, I think, the overflow section. It doesn’t have any of the Greats, of course, but as a result it also doesn’t draw the crowds of the main rooms, leaving you with a little bit more time to drink in the paintings without feeling like you’re getting in someone’s way. And my favourite part of the overflow rooms is Louis-Léopold Boilly’s A Girl at a Window.

(I should at this point confess that I’m about as capable of writing about art as I am, say, jumping to the moon, or diving into the ocean to fight giant squid using only my teeth. Do not take me seriously here, or really anywhere. You have been warned.)

Boilly’s work is nowhere near the best in the museum. It’s nowhere near the best in the room. But what it is is striking. On a wall full of oil paintings, splashed with colour and varnish, the monochrome Girl demands your attention. The lack of colour feels totally anachronistic, which produces some surprising effects. From afar, the fish in the bowl look almost photorealistic, while the children spying with their telescope look like something you might see in a Pixar film now.

As in almost all of Boilly’s work, the detailing is superb. Boilly, who lived in France during an era which makes our own seem downright placid, was a master portrait painter, with a taste also for caricature and tricks of the eye. Those tastes are in evidence here, although the painting isn’t quite indulgent. The girl and boy are real with a hint, as I mentioned earlier, of the cartoon. The window jumps out as a textured second frame, and then doesn’t. It’s a gorgeous, subtle piece of work.

Anyway, if you’re ever in London and the Covid-19 pandemic is behind us, go check out A Girl at a Window. Even if you aren’t as taken with it as I am, the National Gallery is worth the trip.

This is Secret Base Media Club. Every Wednesday, a member of Secret Base staff will talk about what they’re reading and anything else they happen to be enjoying. Feel free to join in the conversation or start your own — books, movies, music, tv shows, sports (hah!) are all fair game.

0 notes

bigyack-com · 5 years

Text

Abridged version of Serendipity Arts Festival to be held in Delhi - art and culture

“We are very excited to do an abridged version of the Serendipity Arts Festival here in Delhi around the end of March. A showcase consisting of select excerpts will be presented and we hope to bring a slice of the experience to Delhi,” said Smriti Rajgarhia, Director, Serendipity Arts Foundation and Festival.India Art Fair witnessed a host of artists with excerpts from the Serendipity Arts Festival, which is held every year in Goa, as well as their own body of work. Artworks by Iftikhar Dadi at the Jhaveri Contemporary, who served as an Advisor to ‘Look, Stranger!’ exhibition curated by Rahaab Allana at Serendipity Arts Festival; artworks by Sahil Naik at Experimenter, whose work showcased as part of Urban Re-imagined 2.0 curated by Ravi Agarwal at SAF- 2019; those by Nikhil Chopra at Chatterjee & Lal, who concluded a residency at the Metropolitan Museum of Art, New York with support from the Foundation, and as part of HH Art Spaces. Also present was Maya Krishna Rao, Special Curator, from the 2018 edition of the festival, who performed a reprised iteration of ‘Loose Woman’, first commissioned for the SAF- 2018. Speaking about the plans ahead in 2020, Rajgarhia said: “We have received an excellent response from the people here in Delhi, our patrons, partners, visitors and the friends of the festival. We are happy to have shared excerpts of the festival at the India Art Fair, where we also released our festival film and new catalogue for 2019-20. As an institutional partner, we are thankful to the fair committee for hosting us.”The art works showcased at the Fair prominently features emerging artists from the region like Farah Viraf Mulla, who participated in Dharti Arts Residency Programme 2019, the Foundation’s flagship artist residency programme. In addition, Israeli multimedia artist Achia Anzi, supported by the SAF presented a LED- based light project composed of lines from poems penned by five thinkers and philosophers across time periods: Judah Abravanel (1464-1530), Henry Louis Vivan Derozio (1809-31), Aime Cesaire (1913-2008), Paul Celan (1920- 1970) and Mahmoud Darwish (1941-2008), curated by Ravi Agarwal for the SAF 2019.The Fair also witnessed a selection of videos from Sudarshan Shetty’s 2019 curation from Serendipity Arts Festival titled ‘Look Outside This House’. Broadly, at the festival, the project was aimed to present indigenous inventions and informal industries that have origins in catering to real-life circumstantial needs with lasting social impact on communities at large. The SAF also showcased its broad spectrum of research in the arts explored through its publication series titled ‘Projects & Processes’, which has recently released five volumes in partnership with HarperCollins India. The volumes present critical perspectives on projects at the Festival. The essays have been commissioned by Serendipity Arts Foundation and are authored by art writers from across the country.(This story has been published from a wire agency feed without modifications to the text.)Follow more stories on Facebook and Twitter Read the full article

#abstract #abstractart #Art #ArtandCulture #Culture #deviantart #famousartists #finearts #howgreatthouart #howgreatthouartlyrics #howtodonailart #modernart #oilpainting #paint #paintonline #popart #print #wallpainting #watercolorpainting

0 notes

transnationaltransformations · 4 years

Text

synchornization of the sense syllabus

Course Description:

Synchronizations of Senses (SOS), a seminar/workshop/studio/study group/conversation, is a complement to 4.356Cinematic MigrationsLinks to an external site.. This class invites in-depth examination of sense percepts, noting nuances, and articulating specificities. A generative focus is placed on the practices of varied practitioners–film directors, artists, musicians, composers, architects, designers–whose writings relay a process of thinking and feeling integral to their forms of material production.

Using prompts suggesting varying contexts, such as The Film Sense, written by Sergei Eisenstein, and The Cinema Interval, written by Trinh T. Minh-Ha, in addition to other writings by Eisenstein and Minh-Ha and others, the intention of this course is to create a space for experimentation, exploratory discussion and productions via aesthetic inquiry into perceptions of all senses.

Testing various ways aesthetic forms and their shifts—historic and contemporary—have relations to still emerging contemporary subjectivities (felt emotion in a human body), in this workshop/seminar we will study productions created by participants, case studies of varied producers, and generate new work individually and/or collaboratively via diverse media explorations, which include reading, writing, drawing, and publishing, as well as photographic, cinematic, spatial, and audio operations productions.

The course contents will comprise screenings, listening assignments, and guest visits, in addition to readings, discussions, and presentations. An aim is conviviality, rigor, and engagement fueled by the willingness of the participants to share perceptions and projects. The SOS Documentation Project, produced by the previous participants, is an ongoing accretive node.

Course References: Filmmakers considered include Sergei Eisenstein, Luis Buñuel, Ousmane Sembene, Trinh T. Minh-ha, Lucrecia Martel, Jia Khangke, Andrei Tarkovsky, John Akomfrah, Jean-Luc Godard, Apichatpong Weerasethakul, Abderrahmane Sissako, Haile Gerima, and others. Selected Readings: This is a list of readings indicating what class participants may be able to choose from in relation to their interests. Eisenstein, Sergei. The Film Sense. Edited by Jay Leyda. New York: Harcourt, Brace, 1947. Eisenstein, Sergei, and Jay Leyda. Film Form: Essays in Film Theory. New York: Harcourt, Brace, 1969. Trinh, T. Minh-Ha. Cinema Interval. New York: Routledge, 1999. Trinh, T. Minh-Ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press, 1989. Trinh, T. Minh-Ha. When the Moon Waxes Red: Representation, Gender, and Cultural Politics. New York: Routledge, 1991. Trinh, T. Minh-Ha. Lovecidal: Walking with the Disappeared. New York: Fordham University Press, 2016. Cha, Theresa Hak Kyung. Dictée. New York: Tanam Press, 1982.Cha, Theresa Hak Kyung. Dictee. 1St Calif. pbk. ed. Berkeley: University of California Press, 2001. Cha, Theresa Hak Kyung., ed. Apparatus, Cinematographic Apparatus: Selected Writings. New York: Tanam Press, 1980. Tarkovskiĭ, Andreĭ Arsenʹevich. Sculpting in Time: Reflections on the Cinema. 3Rd University of Texas Press ed. Austin: University of Texas Press, 1991. MacKenzie, Scott, ed. Film Manifestos and Global Cinema Cultures: a Critical Anthology. Berkeley: University of California Press, 2014. Anthes, Bill. Edgar Heap of Birds. Durham: Duke University Press, 2015. Rukeyser, Muriel. The Life of Poetry. New York: Current Books, 1949.Rukeyser, Muriel. The Life of Poetry. New York: Kraus Reprint, 1968. Silko, Leslie Marmon. Almanac of the Dead: a Novel. New York: Simon & Schuster, 1991.Silko, Leslie Marmon. Almanac of the Dead: a Novel. New York: Penguin Books, 1992. Pamuk, Orhan, and Erdağ M Göknar. My Name Is Red. 1St American ed. New York: Alfred A. Knopf, 2001. Pamuk, Orhan, and Maureen Freely. Other Colors: Essays and a Story. 1St U.S. ed. New York: Alfred A. Knopf, 2007. Buñuel, Luis, and Garrett White. An Unspeakable Betrayal: Selected Writings of Luis Buñuel. Berkeley: University of California Press, 2000. Classen, Constance, ed. The Book of Touch. Oxford: Berg, 2005. Classen, Constance. Worlds of Sense: Exploring the Senses in History and across Cultures. London: Routledge, 1993. Classen, Constance. The Color of Angels: Cosmology, Gender, and the Aesthetic Imagination. London: Routledge, 1998. Deleuze, Gilles, and Félix Guattari. What Is Philosophy?. New York: Columbia University Press, 1994. Deleuze, Gilles. Cinema. Minneapolis: University of Minnesota Press, 1986.Deleuze, Gilles. L'Image-Mouvement. Paris: Éditions du Minuit, 1983.Deleuze, Gilles. L'Image-Temps. Paris: Éditions de Minuit, 1985. Bergson, Henri, Nancy Margaret Paul, and M. E Dowson. Matter and Memory. London: G. Allen & Unwin, 1962.Bergson, Henri, Nancy Margaret Paul, and M. E Dowson. Matter and Memory. New York: Doubleday, 1959.Bergson, Henri. Matter and Memory. New York: Zone Books, 1999. Barad, Karen Michelle. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press, 2007. Keeling, Kara. The Witch's Flight: the Cinematic, the Black Femme, and the Image of Common Sense. Durham: Duke University Press, 2007. Delany, Samuel R. About Writing: Seven Essays, Four Letters, and Five Interviews. Middletown, CT: Wesleyan University Press, 2005. Batchelor, David. Chromophobia. London: Reaktion Books, 2000. Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969. Thomas, Sheree R., ed. Dark Matter: a Century of Speculative Fiction from the African Diaspora. New York: Warner Books, 2000. Marcus, Greil., and Werner. Sollors, eds. A New Literary History of America. Cambridge, Mass.: Belknap Press of Harvard University Press, 2009. Albers, Josef. Interaction of Color. 50Th anniversary edition ; 4th edition. New Haven, [Connecticut]: Yale University Press, 2013. Liu, Cixin, and Ken Liu. The Three-Body Problem. First U. S. edition. New York: Tor Books, 2014. Condé, Maryse, and Richard Philcox. Of Morsels and Marvels. London: Seagull Books, 2020. Spivak, Gayatri Chakravorty. Readings. London: Seagull Books, 2014.

The asteriks (***) indicate readings to be read during the initial weeks of the workshop/seminar, as these will allow us to begin discussions of a matrix of terms we’ll be working with–such as functives, percepts, and concepts–in order to share a basis for further probing.

***Moten, Fred. Stolen Life. Durham: Duke University Press, 2018.

‘Anassignment Letters’

***Deleuze, Gilles, and Félix Guattari. What Is Philosophy?. New York: Columbia University Press, 1994.‘Conclusion : From Chaos to the Brain’***Eisenstein, Sergei. The Film Sense. Edited by Jay Leyda. New York: Harcourt, Brace, 1947.chapter 2, ‘Synchronization of Senses’

***Wolf, Maryanne. Reader, Come Home: The Reading Brain in a Digital World. New York: HarperCollins,

***Ingold, Tim. “Bringing Things Back to Life: Creative Entanglements in a World of Materials.”

University of Aberdeen, 2010.

Further References:

Spillers, Hortense J. Black, White, and in Color: Essays on American Literature and Culture. Chicago: University of Chicago Press, 2003.

Keller, Helen. The World I Live in. New York: The Century co., 1914.

Harris, Laura. Experiments in Exile: C.L.R. James, Hélio Oiticica, and the Aesthetic Sociality of Blackness. First edition. New York: Fordham University Press, 2018.

New Museum (New York, N.Y.). Trigger: Gender as a Tool and a Weapon. Edited by Johanna Burton and Natalie Bell. New York, NY: New Museum, 2017.

(exhibition catalogue)

Janevski, Ana, and Thomas J. Lax. Judson Dance Theater: the Work Is Never Done. New York, NY: Museum of Modern Art, New York, 2018.

(exhibition catalogue)

Bard College Center for Curatorial Studies. The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. Edited by Jeannine Tang, Ann E. Butler, and Lia Gangitano. Annandale-on-Hudson, NY: Center for Curatorial Studies, Bard College, 2018.

(exhibition catalogue)

Hustvedt, Siri. Living, Thinking, Looking: Essays. New York: Picador, 2012.

Brinkema, Eugenie. The Forms of the Affects. Durham: Duke University Press, 2014.

Rancière, Jacques. Aisthesis: Scenes from the Aesthetic Regime of Art. London: Verso Books, 2013.

Rothenberg, Jerome, and Steven Clay, eds. A Book of the Book: Some Works & Projections about the Book & Writing. New York: Granary Books, 2000.

White, Hayden V. The Practical Past. Evanston, Illinois: Northwestern University Press, 2014.

Eagleton, Terry. The Ideology of the Aesthetic. Cambridge, MA, USA: Basil Blackwell, 1990.

Lupton, Ellen. Thinking with Type: a Critical Guide for Designers, Writers, Editors, & Students. 2Nd rev. and expanded ed. New York: Princeton Architectural Press, 2010.

Baer, Nicholas, Maggie Hennefeld, Laura Horak, and Gunnar Iversen, eds. Unwatchable. New Brunswick: Rutgers University Press, 2019.

Flusser, Vilém, and Nancy Ann Roth. Gestures. Minneapolis, MN: University of Minnesota Press, 2014.

Chute, Hillary L. Why Comics?: from Underground to Everywhere. First edition. New York, NY: Harper, an imprint of HarperCollinsPublishers, 2017.

Clark, Samanta and Samuel. Casa Moro. London: Ebury, 2004.

Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Twentieth Anniversary edition. Baltimore, Maryland: Johns Hopkins University Press, 2016.

1 note · View note

hub-pub-bub · 5 years

Link

600 Attendees Registered, Business and Production Tracks

It may sound like a political action committee, but APAC at BookExpo next week is the 2019 Audio Publishers Association Conference.

With its plenary events set in the River Pavilion of the Jacob K. Javits Center overlooking the Hudson, the program on Wednesday (May 29) also has breakout sessions in Hall E. Following a welcome and members’ meeting at the start of the day, the full conference hears a keynote address by New York Magazine Vulture journalist Nicholas Quah, whose Hot Pod Insider coverage of the podcast industry originates in New Haven.

The day then breaks into a production track and a business track, with a late-day keynote from performance psychologist Jonathan Fader, author of Life as Sport (Da Capo Press, 2016).

APA executive director Michele Cobb tells Publishing Perspectives that some 600 attendees are registered with an extensive waiting list in place. And the registration roster is bristling with asterisks by new APA members’ names. Attendees’ associations check all the requisite boxes for a full-court turnout, from Penguin Random House Audio, Storytel, Ingram, Scholastic Audio, and Amazon’s Brilliance Publishing and Audible, to Hachette Audio, Macmillan Audio, HarperCollins, Simon & Schuster Audio, Rakuten Kobo, BookBub’s Chirp, Copenhagen-based Gyldendal and many more in the audio space.

Sponsors include Rakuten OverDrive, SAG-AFTRA, Bookwire, AudioFile, Findaway, Firebrand, BookTrack, LubbeAudio, MetaComet Systems, Du Art, Deyan Audio, John Marshall Media, Blunder Woman, Zebralution, Hoopla, and DFMI.

Not for nothing has the London Book Fair made audio its invitational inaugural CAMEO Awards event later in the week, where US production of UK-born content will be awarded.

In its production track sessions, much time is going into narration skill development as well as other topics. APAC attendees will hear specialists on topics including dialect acquisition; post-production issues; “audiobook etiquette”; “director diagnostics” for voice talent; and more on point of view in narration, and “using archetypes to fuel character choices.”

In its business track sessions, the conference will hear from Tom Webster of Edison Research on consumer trends and a session on book-buzz type influencers in the business as they relate to audio.

It’s a full day, ending in a networking reception, and some attrition can be expected in the afternoon, of course, as BookExpo’s exhibition floor opens at noon–always an issue for conference planners at the Javits.

#APA #APAC #audio books

0 notes