Eponymously titled with his award winning 2014 film, "A Certain Amount of Clarity" is the first monograph dedicated to the artistic practice of Emmanuel Van der Auwera whose work describes our experience of digitized life operating at intersections of documentary, reconstruction and fiction. His practice is one that demonstrates the impact of emerging technologies on perception and civic dialogue, building platforms for marginalized actors and engaging with technicians and scientists to explore the balance of ethics and aesthetics in new media. Through filmmaking, video sculpture, theatre, printmaking, and other media, Van der Auwera sets up encounters with found images that provoke a questioning of our visual literacy: How do images of contemporary mass media operate on various publics, and to what end? With the formal rigor of a logician, Van der Auwera dissects how images are engineered, mastering specialized industry techniques and intervening on their protocol. In so doing, Van der Auwera brings us no closer to a monolithic truth, but constructs new paradigms for reading images and understanding our relationships with them. The monograph moves through works that build on the early film and is broken into 4 main sections, each addressed by a different author.

Der Prix Ars Electronica ist der traditionsreichste Medienkunstwettbewerb der Welt. Seit 1987 alljährlich ausgeschrieben, gilt er wegen seiner Kontinuität, der hohen Anzahl sowie Qualität der Einreichungen als Trendbarometer der weltweiten Medienkunst. Mit vielen Bildern, Texten und Statements der Jury bündelt das Buch jene Arbeiten, die 2020 in den Kategorien Computer Animation, Digital Musics & Sound Art, Artificial Intelligence & Life Art und u19 – Create Your World ausgezeichnet wurden. Ebenfalls im Buch enthalten ist wieder ein Best-of des im Auftrag der Europäischen Kommission ausgeschriebenen STARTS-Prize. Im Fokus dieses hoch dotierten Wettbewerbs standen innovative Projekte an der Schnittstelle von Wissenschaft, Technologie und Kunst (= Science, Technology and ARTS).

The nine stories in this first collection, satisfyingly diverse in plot and theme, take place in a scattering of South Florida settings - Miami, Ft. Lauderdale, the Tamiami Trail, the Keys, Hillsboro Inlet, the Everglades, In among the drama of hurricanes and plane crashes, of kidnappers, escaped convicts, and smugglers, Douglas plants flags that mark the stories as her own: plume hunters who threaten Florida's ibises, irrational schemes to drain the Everglades, what happens when human beings collide with nature in the form of water, weather, or wildlife. The author whose 'River of Grass' awoke Florida and the nation to the environmental crisis facing the Everglades reminds us in these stories of a Florida, then as now, as fragile, varied, and intriguing as a Sanibel Island shell collection.

While universally present in languages, negation is well-known to manifest a surprising cross-linguistic diversity of forms. In creole languages, however, negation and negative dependencies have been regarded as largely uniform. Creole languages as Bickerton claims in Roots of Language, generally exhibit negative concord, a construction popularly dubbed ‘double negation’, where several expressions, each negative on its own, come together with a logic-defying single negation interpretation. While this construction – problematic for compositionality if the meaning of sentences emerge from the meaning of their parts – has fostered much research, the fertile data terrain that creole languages offer for its understanding is rarely taken into account. Aiming at bridging this gap, this book offers a wealth of theoretically informed empirical investigations of negative relations in a wide variety of creole languages. Uncovering a far more complex negative landscape than previously assumed, the book reveals the challenging richness that a thorough comparative study of creoles delivers.

This absorbing and captivating nonfiction account (with never-before-published photographs) offers readers an in-depth anthropological and historical look into the lives of those who suffered and survived Breendonk concentration camp during the Holocaust of World War II.

Compiled for the first time here, the critic, artist, gallerist, dealer, translator John Kelsey's selected essays gamesomely convey some of the most poignant challenges in the art world and in the many social roles it creates. “When the critic chooses to become a smuggler, a hack, a cook, or an artist,” Kelsey said at a 2007 conference at the Städelschule in Frankfurt am Main, “it's maybe because criticism as such remains tied to an outmoded social relation.” It is precisely this relation that Kelsey intends to not only critique but also to surpass. In this way, Kelsey's “Rich Texts” play the double role of explaining the art world and actively participating in it; they close the distance between the work of art and how we talk about it. Originally published in Artforum—where Kelsey is a contributing editor—Texte zur Kunst, Parkett, and various artists' catalogues, the essays compiled in Rich Texts have all been written over the last decade, and therefore embody a timeliness that strikes at the core of the contemporary art world and the crises that have come to define it. Institut für Kunstkritik Series

This is the first extended discussion of preferred interpretation in language understanding, integrating much of the best research in linguistic pragmatics from the last two decades. When we speak, we mean more than we say. In this book Stephen C. Levinson explains some general processes that underlie presumptions in communication. This is the first extended discussion of preferred interpretation in language understanding, integrating much of the best research in linguistic pragmatics from the last two decades. Levinson outlines a theory of presumptive meanings, or preferred interpretations, governing the use of language, building on the idea of implicature developed by the philosopher H.P. Grice. Some of the indirect information carried by speech is presumed by default because it is carried by general principles, rather than inferred from specific assumptions about intention and context. Levinson examines this class of general pragmatic inferences in detail, showing how they apply to a wide range of linguistic constructions. This approach has radical consequences for how we think about language and communication.