Julie A. Turnock tracks the use and evolution of special effects in 1970s filmmaking, a development as revolutionary to film as the form's transition to sound in the 1920s. Beginning with the classical studio era's early approaches to special effects, she follows the industry's slow build toward the significant advances of the late 1960s and early 1970s, which set the stage for the groundbreaking achievements of 1977. Turnock analyzes the far-reaching impact of the convincing, absorbing, and seemingly unlimited fantasy environments of that year's iconic films, dedicating a major section of her book to the unparalleled innovations of Star Wars and Close Encounters of the Third Kind. She then traces these films' technological, cultural, and aesthetic influence into the 1980s in the deployment of optical special effects as well as the "not-too-realistic" and hyper-realistic techniques of traditional stop motion and Showscan. She concludes with a critique of special effects practices in the 2000s and their implications for the future of filmmaking and the production and experience of other visual media.

The Plastics Paradox is the first and only book to reveal the truth about plastics and the environment. Based on over 400 scientific articles, it dispels the myths that the public believe today. We are told that plastics are not green when in fact, they are usually the greenest choice according to lifecycle analysis (LCA) We are told that plastics create a waste problem when they are proven to dramatically reduce waste, for example replacing 1lb of plastic requires 3-4lb of the replacement material We are told that plastics take 1000 years to degrade when in fact a plastic bag disintegrates in just one year outdoors We are led to believe that plastic bags and straws are an issue when in fact they barely register in the statistics The list goes on... Everything you believe now is untrue and we are making policies that harm the environment based on bad information. After reading The Plastics Paradox you will be able to make wise choices that help create a brighter future for us and for our children.

“An eye-opening guide on how to lessen one’s dependence on plastics. . . . This is a clarion, convincing wake-up call to the scope of the global plastic problem and what readers can do about it. —Publishers Weekly Embrace a plastic-free lifestyle with more than 100 simple, stylish swaps for everything from pens and toothbrushes to disposable bottles and the 5 trillion plastic bags we use—and throw out—every year. Use a natural loofah, not a synthetic sponge Buy milk in glass bottles or make homemade nut milk Opt for a waste-free shampoo bar Skip the printed receipt and opt for an email instead Wrap gifts beautifully with cloth Organized into five sections—At Home, Food & Drink, Health & Beauty, On the Go, and Special Occasions—Living Without Plastic is a cover-to-cover collection of doable, differencemaking solutions, including a 30-Day Plastic Detox Program.

In Njau, Gambia, discarded plastic bags littered the roads. Water pooled in them, bringing mosquitoes and disease. But Isatou Ceesay found a way to recycle the bags and transform her community. An inspirational true story.

"(Meikle) traces the course of plastics from 19th-century celluloid and the first wholly synthetic bakelite, in 1907, through the proliferation of compounds (vinyls, acrylics, nylon, etc.) and recent ecological concerns".--PUBLISHERS WEEKLY. Winner of the 1996 Dexter Prize from the Society for the History of Technology and a 1996 CHOICE Oustanding Academic Book. 70 illustrations.

Analyse van de "Nouvelle Vague", een stroming in de Franse film uit de jaren 1960-1970, gezien vanuit Amerikaans standpunt

The author has evolved an altogether new psychology of the artist and the art-work which accounts particularly for the development, significance, possibilities and limitations of modern abstract art.

Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non-representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia - inherent liveliness, expressive autonomy and self-subsisting form - are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

Even a decade after his death, Clement Greenberg remains controversial. One of the most influential art writers of the twentieth century, Greenberg propelled Abstract Expressionist painting-in particular the monumental work of Jackson Pollock-to a leading position in an international postwar art world. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Caroline Jones's magisterial study widens Greenberg's fundamental tenet of "opticality"-the idea that modernist art is apprehended through "eyesight alone"-to a broader arena, examining how the critic's emphasis on the specular resonated with a society increasingly invested in positivist approaches to the world. Greenberg's modernist discourse, Jones argues, developed in relation to the rationalized procedures that gained wide currency in the United States at midcentury, in fields ranging from the sense-data protocols theorized by scientific philosophy to the development of cultural forms, such as hi-fi, that targeted specific senses, one by one. Greenberg's attempt to isolate and celebrate the visual was one manifestation of a large-scale segmentation-or bureaucratization-of the body's senses. Working through these historical developments, Jones brings Greenberg's theories into contemporary philosophical debates about agency and subjectivity. Eyesight Alone offers artists, art historians, philosophers, and all those interested in the arts a critical history of this generative figure, bringing his work fully into dialogue with the ideas that shape contemporary critical discourse and shedding light not only on Clement Greenberg but also on the contested history of modernism itself.