BAROQUE TOMORROW, written by energy and finance expert Jack Michalowski, questions why information technology advances havem failed to deliver post-industrial nations from rising unemployment, poverty and inequality, longer working hours and declining pay. Comprehensive and topical, this volume looks through today's issues at cycles of our history over the last few hundred years to search for answers to the key question of the day: why are post-industrial societies declining and why pace of progress is slowing. Discover why technology falls short and why even the world's leading economies are still struggling in this fast-paced book that reads like a thriller.

This anthology presents classic and recent scholarship on Italian art from 1600-1750, highlighting the key debates with which art historians continue to grapple. Explores themes including: style or the visuality of art; artistic practices and production; artistic communication as projected and experienced; and artists’ interactions with the ancient world and with the new sciences Examines the work of key painters, architects and sculptors from this period, including Caravaggio, Bernini, Guarini and Poussin Published in the expanding Blackwell Anthologies in Art History series

"A History of Baroque Music is a detailed treatment of the music of the Baroque era, with particular focus on the seventeenth century. The author's approach is a history of musical style with an emphasis on musical scores. The book is divided initially by time period into early and later Baroque (1600-1700 and 1700-1750 respectively), and secondarily by country and composer. An introductory chapter discusses stylistic continuity with the late Renaissance and examines the etymology of the term "Baroque." The concluding chapter on the composer Telemann addresses the stylistic shift that led to the end of the Baroque and the transition into the Classical period."--Jacket.

"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, calls for innovation have defined palpable shifts in ballet's direction and resultantly we have arrived at a new moment in its history that is unquestionably recognized as a genre onto its own: Contemporary Ballet. An aspect of this recent discipline is that its dancemakers, more often than not, seek to reorient the viewer by celebrating what could be deemed vulnerabilities, re-construing ideals of perfection, problematizing the marginalized/mainstream dichotomy, bringing audiences closer in to observe, and letting the art become an experience rather than a distant object preciously guarded out of reach. Hence, the practice of ballet is moving to become a less-mediated and more active process in many circumstances. Performers and audiences alike are challenged, and while convention is still omnipresent, choices are being made. For some, this approach has been drawn on for decades, and for others it signifies a changing of the guard, yet however we arrive there, the conclusion is the same: Contemporary Ballet is not a style. That is to say, it is not a trend, phase, or fashionable term that will fade, rather it is a clear period in ballet's time deserved of investigation. And it is into this moment that we enter"--

Tomorrow Through the Past: Neal Stephenson and the Project of Global Modernization is the first collection of scholarly essays dedicated exclusively to this important voice in contemporary American fiction. The collection grew from five essays originally presented at the 2006 XXth Century Literature Conference at the University of Louisville, and the contributors are made up of graduate students, independent scholars, and university professors who hope the collection will aid general readers as well as instructors teaching Stephenson and professionals building the critical response to his work. Reading through the lenses of history and linguistic, cultural, and science fiction studies, the essays in the collection examine each of Stephenson’s novels from The Big U to The Baroque Cycle as well as his long non-fiction work on computer operating systems, In the Beginning … Was the Command Line. Included in this collection is a new interview conducted with Stephenson during the summer of 2006.

Discover the beauty of Polish music and fables through "Vistula Resonances", an amazing journey through time and space. Travel through the remnants of pre-medieval themes, the majesty of Renaissance and Baroque movements and the patriotism in the Romantic period. Discover postwar Polish music creativity and the changes in the country's musical life in the post-communist period. This book is a tremendously detailed account of how Polish music is not just a mirror of the nation's character, but an active element in its formation. Starting with the eerie anthems of folk songs from prehistoric times, through dance and techno music of today's Poland, "Vistula Resonances" provides the unique opportunity to experience the gradual development of a nation that finds its essence in music. This outstanding compendium is specifically tailored for scholars, interested laymen as well as for anybody eager to discover more about the history of Poland and its music – a true masterpiece, which certainly furthers the understanding and appreciation of its profound subject.

"Bruce Sterling on speed? The imagination of Sterling squared? All of the glitz, glibly tossed-off newly invented, or hybrid tech-terms thrown at the reader like an info blizzard at hurricane force, but with more core storyline than in some of Sterling's "Deep Eddy" stories? ... if you like Sterling, you're gonna love Stross. In an ironic sense, Bruce Sterling was the buffer we needed to be able to handle Charles Stross." - Tangent.

Baroquemania explores the intersections of art, architecture and criticism to show how reimagining the Baroque helped craft a distinctively Italian approach to modern art. Offering a bold reassessment of post-unification visual culture, the book examines a wide variety of media and ideologically charged discourses on the Baroque, both inside and outside the academy. Key episodes in the modern afterlife of the Baroque are addressed, notably the Decadentist interpretation of Gianlorenzo Bernini, the 1911 universal fairs in Turin and Rome, Roberto Longhi’s historically grounded view of Futurism, architectural projects in Fascist Rome and the interwar reception of Adolfo Wildt and Lucio Fontana’s sculpture. Featuring a wealth of visual materials, Baroquemania offers a fresh look at a central aspect of Italy's modern art.

From preparing for the very first lesson to mastering fiendish fingering and performance anxiety, this inspirational guide helps teachers nurture and support students at every level and develop a love of the piano. With musical communication at its heart, The Piano Teacher's Survival Guide tackles universal issues and common frustrations faced by all pianists as well as improving and developing teaching skills and piano technique.

Earth Moves, Bernard Cache's first major work, conceptualizes a series of architectural images as vehicles for two important developments. First, he offers a new understanding of the architectural image itself. Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is nonrepresentational and constructive—images as constituents of a primary, image world, of which subjectivity itself is a special kind of image. Second, Cache redefines architecture beyond building proper to include cinematic, pictoral, and other framings.Complementary to this classification, Cache offers what is to date the only Deleuzean architectural development of the "fold," a form and concept that has become important over the last few years. For Cache, as for Deleuze, what is significant about the fold is that it provides a way to rethink the relationship between interior and exterior, between past and present, and between architecture and the urban.