This book analyzes the rise of the earliest Greek temples through an innovative phenomenological approach, in which lived experiences are assumed as key tools of investigation. Accordingly, much space is dedicated to exploring the connections that tied the Greeks to their surroundings environment, by surviving records of Greek religion, poetry, art, philosophy and architecture from the archaic times. This framework sheds a new light on the relationship between ‘human’ and ‘divine’ in the ancient Greek world, suggesting that the archetypal structure of temple was devised to facilitate a particular kind of experience, that of the Divine. Such an experience produced a break from ordinary and profane life, allowing a special awareness to be gained. The findings and method of this book enable us to bridge the gap between our present days and that distant era, rediscovering our ancient past as an endless source of inspiration.

Documentary filmmakers have been making films about music for a half-century. American Music Documentary looks at five key films to begin to imagine how we might produce, edit, and watch films from an ethnomusicological point of view. Reconsidering Albert and David Maysles’s Gimme Shelter, Jill Godmilow’s Antonia: A Portrait of the Woman, Shirley Clarke’s Ornette: Made in America, D. A. Pennebaker’s and Chris Hegedus’s Depeche Mode: 101, and Jem Cohen’s and Fugazi’s Instrument, Harbert lays the foundations for the study and practice of “ciné-ethnomusicology.” Interviews with directors and rich analysis from the disciplinary perspectives of film studies and ethnomusicology make this book a critical companion to some of the most celebrated music documentaries of the twentieth century.Hardcover is un-jacketed.

Over the past century and a half, the voices and bodies of animals have been used by scientists and music experts as a benchmark for measures of natural difference. Animal Musicalities traces music’s taxonomies from Darwin to digital bird guides to show how animal song has become the starting point for enduring evaluations of species, races, and cultures. By examining the influential efforts made by a small group of men and women to define human diversity in relation to animal voices, this book raises profound questions about the creation of modern human identity, and the foundations of modern humanism.

In the first three decades of the 20th century Augustus John (1878–1961) was widely considered one of the greatest living British artists, famous almost as much for his extraordinary Bohemian lifestyle as for his outstanding portraits, etchings and drawings. John was born in Wales in 1878 and educated at the Slade School of Art in London in the 1890s, where the onus of teaching was on the daily life class and a close study of the Old Masters. He soon emerged as a wonderfully gifted draughtsman – indeed, the American painter John Singer Sargent would declare that John’s youthful drawings were amongst the fi nest seen since the Renaissance. Dividing his life between England, Wales and France, and reaching his prime in the years immediately before the outbreak of the Great War, by 1910 John would be likened to a British Gauguin, a Welsh Post-Impressionist using bold colours and a willfully naïve and primitive style to explore the complex combination of romanticism, escapism and alienation engendered by 20th-century life. The great American collector John Quinn considered John and his sister Gwen key European artists, and his work would be included in the infl uential Armory Show in New York in 1913. After the War he would become Britain’s leading society portraitist, earning a fortune in commissions – though it was his more personal paintings of friends, lovers, family and fellow artists and writers such as W.B. Yeats, T.E. Lawrence, Dylan Thomas, Ottoline Morrell and his muse/ mistress Dorelia McNeill that best revealed his great talents. Published to coincide with exhibitions at Poole Museum in Dorset in the summer of 2018 and at Salisbury Museum in Wiltshire in the summer of 2019, Augustus John: Drawn from Life re-examines the life and work of this signifi cant but increasingly overlooked Britishartist. Focusing on around sixty works drawn from private and public collections, including the Tate, the National Portrait Gallery and the National Museum of Wales, the book will off er new insights into John’s life and development as an artist from the late 1890s to theoutbreak of the Second World War.

A draughtsman of remarkable ability, matching even his mentor Augustus John, Henry Lamb (1883–1960) was a founder-member of the Camden Town Group, exhibiting at their inaugural exhibition in 1911. He was a powerful and original War artist, and an engaging and sensitive portrait painter, whose group portraits in particular are as successful as those by any British painter of the age. To date unfairly eclipsed by the glamorous and culturally infl uential circle around him, Lamb is now probably best known through these fi gures and his many compelling portraits of them, amongst them Lady Ottoline Morrell, Evelyn Waugh and Lytton Strachey, whose monumental full-length portrait by Lamb in Tate Britain is probably the artist’s best-known work. Lamb abandoned a promising medical career in Manchester to pursue his training as an artist at the London art school run by William Orpen and Augustus John. He found inspiration in the rural simplicity of Brittany, and a later visit to Ireland inspired his great genre painting Fisherfolk, Gola Island of 1913 – not seen in public since the last major retrospective in 1984. Following active service during the First World War as an army medical offi cer (for which he was awarded a Military Cross), he contributed two of the greatest artworks to the proposed National Hall of Remembrance a year after armistice in 1919. Following a productive period in Poole after the War, where he produced some evocative townscapes of its streets and skylines, he eventually settled in Coombs Bissett near Salisbury. Here he established a reputation as a sought-after portrait painter, executing a constant stream of landscapes, still lives, genre pictures and fi ne domestic subjects. Accompanying an exhibition at Salisbury Museum in 2018 and Poole Museum in 2019, Henry Lamb: Out of the Shadows will focus on over 50 works by the artist from across his career. As well as loans from major national collections, the group will include signifi cant works from private collections, including a substantial archive from the artist’s family and a number of re-discovered masterpieces. The catalogue will also feature an introductory essay by Lamb’s cousin, the writer Thomas Pakenham who knew the artist well.

Modern hygienic urbanism originated in the airy boulevards, public parks, and sewer system that transformed the Parisian cityscape in the mid-nineteenth century. Yet these well-known developments in public health built on a previous moment of anxiety about the hygiene of modern city dwellers. Amid fears of national decline that accompanied the collapse of the Napoleonic Empire, efforts to modernize Paris between 1800 and 1850 focused not on grand and comprehensive structural reforms, but rather on improving the bodily and mental fitness of the individual citizen. These forgotten efforts to renew and reform the physical and moral health of the urban subject found expression in the built environment of the city—in the gymnasiums, swimming pools, and green spaces of private and public institutions, from the pedagogical to the recreational. Sun-Young Park reveals how these anxieties about health and social order, which manifested in emerging ideals of the body, created a uniquely spatial and urban experience of modernity in the postrevolutionary capital, one profoundly impacted by hygiene, mobility, productivity, leisure, spectacle, and technology.

Ever wish you could push the "reset" button on the world in which you live as well as the one you carry inside your head? Are you tired of a culture that seems infatuated with wealth and the superfluous, where people can become famous simply by being outrageous or otherwise well known?If that world is not working for you, perhaps you should consider a trip to the desert, just as holy men, mystics, prophets, and eccentrics have done for thousands of years, seeking solitude and inspiration, wisdom and direction in a land of extremes. This is what author Jim Barbee did, seeking Inner Space in the expansive California Desert that lies just 100 miles east of Los Angeles and the other coastal cities of Southern California.Sin Sombras is Barbee's attempt, in photographs and stories, to relive the California Desert: a landscape where there are no shadows (sin sombras), no shade, no place to hide or find relief. It is a wild, arid, and sparsely populated region, "flyover" country for most travelers, a place to pass through or endure, but also home to hardy individuals who live in one of the harshest climates on Earth.The photographs were taken largely between El Centro and Barstow, California, including the famous Salton Sea. They depict the land, towns, people, and human artifacts that tell a visual story of pilgrimage, survival, and adaptation. The accompanying stories walk the boundary between fact and fiction and are offered as reflections on themes inspired by the pictures: awe, mystery, longing, death, mistakes, and the power of chance in our lives.Sin Sombras is a unique work of artistic and spiritual exploration. One might even say it is a sojourn to find the meaning of life, if there is one, in the unforgiving but awe-inspiring world of the California Desert. Enjoy the ride.

This catalogue will be published to accompany the fi rst ever exhibition of Golden Age Dutch pictures in the collection of the National Trust, which will be shown at the Mauritshuis in The Hague, the Holburne Museum in Bath and at Petworth House in West Sussex (2018–19). Celebrating the enduring British taste for collecting Dutch paintings from the long seventeenth century, the publication will explore why and how this particular type of art was desired, commissioned and displayed through the consideration of masterpieces from a number of National Trust houses. It will feature portraits, still lifes, religious pictures, maritime paintings, landscapes, genre paintings and history pictures, painted by celebrated artists such as Rembrandt, Lievens, Hobbema, Cuyp, Hondecoeter, De Heem, Ter Borch and Metsu, as well as less well-known artists such as De Baen and Van Diest. With over 350 heritage properties in the UK, the National Trust cares for one of the world’s largest and most signifi cant holdings of art and its collection of Dutch Old Masters is particularly impressive. The catalogue will include essays by Quentin Buvelot (chief curator at the Mauritshuis) and David Taylor (curator of pictures and s culpture at the National Trust). The authors will also discuss other aspects of the infl uence of Dutch culture in British country houses (using National Trust examples) – on furniture, garden design and print and ceramics collecting.

Intertwining is an international, interdisciplinary journal dedicated to understanding the experience and making of architecture. It includes the voices of science alongside those of the arts - as both ways of knowing are critical to the multidimensional nature of our inquiry."We want to move beyond thinking of architecture as an object. Architecture is not separate from us - it is not something to be judged merely by its formal properties, its satisfaction of programmatic concerns or its performance in terms of technical parameters. We are not dismissing the importance of these factors but wish to enrich them, to understand and articulate how architecture can capture and express unseen layers of meaning and purpose. We want to think of architecture as a verb, a mover, a shaper, an active agent in human flourishing. In order to appreciate the potential power of architecture we want to explore the experience of architecture, and the intimately related experience of making architecture. Turning our attention to experience requires that we listen to and consider knowledge from a full array of disciplines. Experience is multi-dimensional, multi-directional, irreducible. Experience always supercedes, flows over any boundary that attempts to circumscribe it."Contributors: Alessandro Gattara, Sarah Robinson, Davide Ruzzon, Juhani Pallasmaa, Barbara Lamprecht, Kevin Kelley Rooney, Olafur Eliasson, Harry Francis Mallgrave, Colin Ellard, Susan Magsamen, Raymond Richard Neutra, Sarah Robinson, Elnaz Ghazi.

Montage, today, is a widespread procedure that doesn’t concern just artistic production, but also our daily lives and the use everyone makes of that huge visual archive contemporary media places at our disposal. In a technologically advanced society, where the notion of postproduction regulates our relationship with images and objects, it is therefore necessary to thoroughly investigate the role, possibilities, and, most of all, anthropological and politic connotations of montage; and to ask ourselves whether – in comparison to the heroic years of the first avant-gardes – montage has become a faded and standardized practice or if it is a more and more effective means to understand and reprogram the world, especially in relation to the technical possibilities offered by new media and remix practices.

This trans-historical exhibition of drawings is devoted to the subject of the artist at work. Drawn principally from a very fine specialist private collection, this display will focus on the depictions of artists’ studios, their own portraits, models and assistants in symbolic, as well as from life, representations of the métier of drawing, painting and sculpture. Art historians have interpreted these themes variously as the means of elevating the social and economic status of artists; of illustrating the marriage of intellectual knowledge and practical skill proposed by academic theorists, or as sophisticated allegories of the philosophical significance of visual art. Even at the most pragmatic level of recording the clutter of the everyday studio, drawing human models or antique casts in an academy, or small figures sketching in landscape, works with these subjects are imbued with layers of meaning. This focused exhibition, spanning from the 16th to the 20th centuries, proposes to explore this rich subject matter through a carefully selected group of graphic works.

In terms of antiquarian fame, the Farnese Sarcophagus – elaborately carved with satyrs and maenads gathering grapes – may be the most important work of art in the Gardner collection, and perhaps of its type in America. A large, rectangular coffin of Pentelic marble, the Farnese Sarcophagus was exported from Athens to the area of Rome in the late Severan period, between c. 222 and 235 AD. Thecarving of the satyrs and maenads was especially suited to the artistic tastes of Mannerist and Baroque Rome, providing one of the most elegant examples of Greek imperial optic elongation to have survived from ancient times. Life Death& Revelry will offer a multi-disciplinary, multi-era look at this important monument. Published to accompany an exhibition at the Isabella Steward Gardner Museum, Boston, it will bring together archaeological analyses of the piece and its previous restorations, and numerous Renaissance prints anddrawings depicting the sarcophagus during its time in Rome.

Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged – and most controversial – film directors of our time, Trier’s films often escape the representational production of meaning. In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.

This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp’s presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. Hardcover is un-jacketed.

Pigments described by the English chemist, Robert Dossie, the French artists' colourman, Jean Félix Watin, and the London-based pigment maker, Constant de Massoul. 18th century European painting saw the introduction of new pigments to the painters’ palettes, from Prussian Blue to the early synthetics such as Patent Yellow. It was a century rich in pigments, the authors of the treatises listing over 150 pigments that could be bought in the shops in London and Paris.

The Chester Beatty Library’s 16th-century Ruzbihan Qur’an—produced in the city of Shiraz in southwest Iran—is one of the finest Islamic manuscripts known. In terms of both materials and workmanship, it is exquisite: lapis lazuli and gold, the two most expensive pigments available, are used on every page, while the rendering of the decoration is exceptionally fine. This is the most detailed and comprehensive study of any Islamic manuscript—and it is well worthy of such scrutiny. Praised in a 16th-century account as one of the finest calligraphers of his time, Ruzbihan Muhammad al-Tab‘i al-Shirazi would have produced numerous Qur’ans during the course of his career, but only five signed by him have survived. Much of the study of this, surely his finest manuscript, is focussed on understanding the processes and procedures involved in the production of the manuscript and thus on gaining an insight into the problems faced by Ruzbihan and the other artists and how they resolved them. Certain surprising and never-before-seen techniques of production and ‘tricks-of-the trade’ have been uncovered. A large portion of the information presented is the result of very close examination, under high magnification, of the manuscript’s 445 folios (890 pages). Many of the reproductions included are of minute details of the decoration that are difficult, or even impossible, to see with the unaided eye. The book follows the order in which work on the manuscript would have progressed, beginning with an examination of Ruzbihan’s calligraphy, the various scripts he used to copy the text and the problems he faced, such as the spacing of the text and his errors and omissions. Additions, such as marginal notations, recitation marks and decorative devices indicating the divisions of the text, all of which guide the reciter in his reading of the Qur’an, are also considered. Although the manuscript’s renown has traditionally rested with the name of its calligrapher, it is equally the quality, extent, diversity and complexity of its superb decorative programme—the work of a team of highly skilled, yet anonymous artists and artisans—that sets the manuscript apart from most other 16th-century Persian Qur’ans. Fittingly, therefore, the bulk of the study focuses on this aspect of the manuscript. Major aspects of the illumination, such as its lavish beginning, middle and end illuminations, are examined as well as more minor elements such as the ‘rays’ that emerge from the frontis- and finispiece; even the tiniest of details are revealed, such as what are, in the book, termed ‘squiggles and eyes’, hidden amongst the illuminations and a challenge to find for the even the most eagle-eyed viewer. However, while many of the secrets of the production of the manuscript were revealed, many mysteries remain. Chief among these is the startling change in aesthetic evident in the illuminations of the final ten openings of the manuscript. Why such as change was undertaken—and then halted—is not known. As was increasingly revealed as study of the manuscript progressed—and as the reader of the book will quickly come to realise—Chester Beatty’s Ruzbihan Qur’an is an intriguing and very special manuscript.