The first book dedicated to the contemporary Diné artist, featuring 80 stunning tapestries and essays exploring her life and legacy. Discover the unique weaving traditions of the Navajo Nation in this joyous celebration of Indigenous art and history. A fifth-generation weaver, DY Begay’s transformative tapestries reflect her family tradition, her Diné identity, and the natural beauty of the Navajo Nation reservation where she grew up. The first book devoted to Begay's career, Sublime Light reveals the evolution of her work with 80 gorgeous tapestries created between 1965 and 2022. To fully reveal her life and influences, the book draws on Begay’s journals, family photographs, and imagery from the Tselani, Arizona landscape that inspires her work. Begay first learned to weave watching her mother and grandmother process wool from the family sheep herd using tools made by male relatives and working at their looms. Over the years, she pushed her creativity and began combining her ancestral weaving techniques with modern design, as well as blending colors historically used in Navajo weaving with unconventional dyes made from fungi, food, and non-native flowers. Much of Begay’s deeply personal work pays homage to Navajo land— its red-streaked cliffs, indigo sunrises, dreamy desert tones—as well as her extraordinary lineage. On every page, Sublime Light enchants.

The Sutra of Golden Light is a Mahayana sutra with great power and benefit. Reading the sutra helps bring peace to the world, promotes healing, gives great protection, and most importantly, plants the seed of enlightenment. This version is the much anticipated translation by Losang Dawa, done at the direct request of Lama Zopa Rinpoche. It is the first translation available from the Tibetan. “Anybody who wants peace in the world should read The Golden Light Sutra. This is a very important practice to stop violence and wars in the world. The Golden Light Sutra is one of the most beneficial ways to bring peace. This is something that everyone can do, no matter how busy you are – even if you can read one page a day, or a few lines and in this way continually read The Golden Light Sutra.” –Lama Zopa Rinpoche. 2006 Edition.

A treatise on the exploration of the nature of the Sublime in Nature and Art from the Enlightenment to the late RomanticPeriod; as a formative mode of expression, signifying changes in the aesthetic tastes and perceptions of Nature as seen in the works of Vincent Van Gogh.

How electric light created new spaces that transformed the built environment and the perception of modern architecture. In this book, Sandy Isenstadt examines electric light as a form of architecture—as a new, uniquely modern kind of building material. Electric light was more than just a novel way of brightening a room or illuminating a streetscape; it brought with it new ways of perceiving and experiencing space itself. If modernity can be characterized by rapid, incessant change, and modernism as the creative response to such change, Isenstadt argues, then electricity—instantaneous, malleable, ubiquitous, evanescent—is modernity's medium. Isenstadt shows how the introduction of electric lighting at the end of the nineteenth century created new architectural spaces that altered and sometimes eclipsed previously existing spaces. He constructs an architectural history of these new spaces through five examples, ranging from the tangible miracle of the light switch to the immaterial and borderless gloom of the wartime blackout. He describes what it means when an ordinary person can play God by flipping a switch; when the roving cone of automobile headlights places driver and passenger at the vertex of a luminous cavity; when lighting in factories is seen to enhance productivity; when Times Square became an emblem of illuminated commercial speech; and when the absence of electric light in a blackout produced a new type of space. In this book, the first sustained examination of the spatial effects of electric lighting, Isenstadt reconceives modernism in architecture to account for the new perceptual conditions and visual habits that followed widespread electrification.

Today, the sublime has again become the focus of sustained reconsideration, but now for its epistemological and ontological--or presentational--aspects. As an unmasterable excess of beauty, the sublime marks the limits of representational thinking. These essays will be indispensable reading for anyone whose work is concerned with the sublime or, more generally, with the limits of representation, including philosophers, literary scholars and art historians.

In this interdisciplinary work, Stacy J. Lettman explores real and imagined violence as depicted in Caribbean and Jamaican text and music, how that violence repeats itself in both art and in the actions of the state, and what that means for Caribbean cultural identity. Jamaica is known for having one of the highest per capita murder rates in the world, a fact that Lettman links to remnants of the plantation era—namely the economic dispossession and structural violence that still haunt the island. Lettman contends that the impact of colonial violence is so embedded in the language of Jamaican literature and music that violence has become a separate language itself, one that paradoxically can offer cultural modes of resistance. Lettman codifies Paul Gilroy's concept of the "slave sublime" as a remix of Kantian philosophy through a Caribbean lens to take a broad view of Jamaica, the Caribbean, and their political and literary history that challenges Eurocentric ideas of slavery, Blackness, and resistance. Living at the intersection of philosophy, literary and musical analysis, and postcolonial theory, this book sheds new light on the lingering ghosts of the plantation and slavery in the Caribbean.

Today, the sublime has again become the focus of sustained reconsideration, but now for its epistemological and ontological—or presentational—aspects. As an unmasterable excess of beauty, the sublime marks the limits of representational thinking. These essays will be indispensable reading for anyone whose work is concerned with the sublime or, more generally, with the limits of representation, including philosophers, literary scholars and art historians.

A fourth collection of poems by the author recalls over a century of African American traditions, knitting together a blend of history, biography, personal experience, pop culture, and dreamscape.