"Published in conjunction with the exhibition Diana Thater: The Sympathetic Imagination, at the Los Angeles County Museum of Art, Los Angeles, California (November 22, 2015-February 21, 2016)"-- Colophon.

Edited by Diana Thater. Text by Kent Nagano, Bernhart Schwenk.

Artwork by Mike Kelley, David Hockney. Contributions by William Hackman, Lars Nittve. Text by Mike Davis.

The catalogue is published on the occasion of the first individual exhibition of Georges Vantongerloo in Spain. The catalogue reveals the grounding of his work in the re-conceptualisation of pictorial and sculptural space that marked the abstract tendencies in art of the early 20th century. In the 1920s an important part of the Vantongerloos investigation was centred on colour as physical and perceptive phenomenon. Later, Vantongerloo will conceive his works according to strictly geometric rules, algebraic afterwards, to turn, thus, into the founder of the mathematical thought in art in our epoch. Genuine pioneer in the abstract sculpture field, the artist will continue, after 1945, proposing peculiar versions of that kind of sculpture, abandoning all the reference to a built geometry, and opening to a subjective approach to the universe of cosmology.

Multiword expressions (MWEs) are a challenge for both the natural language applications and the linguistic theory because they often defy the application of the machinery developed for free combinations where the default is that the meaning of an utterance can be predicted from its structure. There is a rich body of primarily descriptive work on MWEs for many European languages but comparative work is little. The volume brings together MWE experts to explore the benefits of a multilingual perspective on MWEs. The ten contributions in this volume look at MWEs in Bulgarian, English, French, German, Maori, Modern Greek, Romanian, Serbian, and Spanish. They discuss prominent issues in MWE research such as classification of MWEs, their formal grammatical modeling, and the description of individual MWE types from the point of view of different theoretical frameworks, such as Dependency Grammar, Generative Grammar, Head-driven Phrase Structure Grammar, Lexical Functional Grammar, Lexicon Grammar.

Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since the publication of its first edition in 1974. Now P. Adams Sitney has once again revised and updated this classic work, restoring a chapter on the films of Gregory J. Markopoulos and bringing his discussion of the principal genres and major filmmakers up to the year 2000.

Before Projection: Video Sculpture 1974-1995 shines a spotlight on a historical moment and a body of work in the history of media art that has been largely overlooked since its inception. The exhibition explores the connections between our current moment and the point at which video art was transformed dramatically with the entry of large-scale, cinematic installation into the gallery space. This exhibition will present a re-evaluation of monitor-based sculpture since the 1970’s and serve as a tightly focused survey of works that have been rarely seen in the last twenty years. Artists featured in the exhibition are Dara Birnbaum, Ernst Caramelle, Takahiko Iimura, Shigeko Kubota, Mary Lucier, Muntadas, Tony Oursler, Nam June Paik, Friederike Pezold, Adrian Piper, Diana Thater, and Maria Vedder.--Gallery website.

Are art and technology coming into a closer relationship with nature? Through a selection of innovative readings by international scholars, this book argues that since 1900 we have experienced a renewed negotiation of the convergent triangle of art, technology and nature, analysing its shifting constellations in post-medieval times. Through this negotiation, art becomes truly complementary to technology in understanding nature’s agencies and may gain an important role in adjusting technology’s present utilitarian hegemony.