This book reviews developments in hypergraphics from the perspectives of a variety of fields in art and science. It is concerned with visual models and visual thought and discusses the role of art in the discovery of technologically useful materials and techniques.

In recent years the role of religion in the avant-garde has begun to attract scholarly interest. The present volume focuses on the work of the Romanian Jewish poet and visual artist Isidore Isou (1925–2007) who founded the lettrist movement in the 1940s. The Jewish tradition played a critical part in the Western avant-garde as represented by lettrism. The links between lettrism and Judaism are substantial, yet they have been largely unexplored until now. The study investigates the works of a movement that explicitly emphasises its vanguard position while relying on a medieval religious tradition as a source of radical textual techniques. It accounts for lettrism’s renunciation of mainstream traditions in favour of a subversive tradition, in this case Jewish mysticism. The religious inclination of lettrism also affects the notion of the avant-garde. The elements of the Jewish tradition in Isou’s theories and artistic production evoke a broader framework where religion and experimental art supplement each other.

“An original, fascinating, and beautifully written reckoning . . . of that great human passion: to write.”—Kay Redfield Jamison, national bestselling author of An Unquiet Mind Why is it that some writers struggle for months to come up with the perfect sentence or phrase while others, hunched over a keyboard deep into the night, seem unable to stop writing? In The Midnight Disease, neurologist Alice W. Flaherty explores the mysteries of literary creativity: the drive to write, what sparks it, and what extinguishes it. She draws on intriguing examples from medical case studies and from the lives of writers, from Franz Kafka to Anne Lamott, from Sylvia Plath to Stephen King. Flaherty, who herself has grappled with episodes of compulsive writing and block, also offers a compelling personal account of her own experiences with these conditions. “[Flaherty] is the real thing . . . and her writing magically transforms her own tragedies into something strange and whimsical almost, almost funny.”—The Washington Post “This is interesting, heated stuff.”—San Francisco Chronicle “Brilliant . . . [a] precious jewel of a book . . . that sparkles with some fresh insight or intriguing fact on practically every page.”—Seattle Post-Intelligencer “Flaherty mixes memoir, meditation, compendium and scholarly reportage in an odd but absorbing look at the neurological basis of writing and its pathologies . . . Writers will delight in the way information and lore are interspersed.”—Publishers Weekly

A groundbreaking collection of essays looking at the concepts of 'intermediality' and 'multimodality' - the relationship between various forms of art and new media - and including case studies ranging from music, film and architecture to medieval ballads, biopoetry and Lettrism.

Far from frivolous playthings, modern visual poems represent serious experiments. Together with other members of the avant-grade, the visual poets sought to restructure the basic vision of reality that they inherited from their predecessors. This statement describes contemporary visual poets as well who, like their earlier colleagues, strive to say things that are more meaningful in ways that are more meaningful."--BOOK JACKET.

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PCMag.com is a leading authority on technology, delivering Labs-based, independent reviews of the latest products and services. Our expert industry analysis and practical solutions help you make better buying decisions and get more from technology.

PCMag.com is a leading authority on technology, delivering Labs-based, independent reviews of the latest products and services. Our expert industry analysis and practical solutions help you make better buying decisions and get more from technology.

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries. The book’s contributions, written by experts from some 20 countries, seek to answer the following questions: What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist “aesthetics of matter”? How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter? How were “immaterial” things such as concepts of time changed in this aesthetic moment? What “material meanings” were disseminated in the cultural transfer and translation of objects? How did subsequent avant-gardes deal with the “aesthetics of matter” in their response to historical predecessors?