To many, the technological aspects of projection often go unnoticed, only brought to attention during moments of crisis or malfunction. For example, when a movie theater projector falters, the audience suddenly looks toward the back of the theater to see a sign of mechanical failure. The history of cinema similarly shows that the attention to projection has been most focused when the whole medium is hanging in suspension. During Hollywood's economic consolidation in the '30s, projection defined the ways that sync-sound technologies could be deployed within the medium. Most recently, the digitization of cinema repeated this process as technology was reworked to facilitate mobility. These examples show how projection continually speaks to the rearrangement of media technology. Projection therefore needs to be examined as a pivotal element in the future of visual media's technological transition. In Practices of Projection: Histories and Technologies, volume editors Gabriel Menotti and Virginia Crisp address the cultural and technological significance of projection. Throughout the volume, chapters reiterate that projection cannot, and must not, be reduced to its cinematic functions alone. Borrowing media theorist Siegfried Zielinksi's definition, Menotti and Crisp refer to projection as the "heterogeneous array of artefacts, technical systems, and particularly visual praxes of experimentation and of culture." From this, readers can understand the performative character of the moving image and the labor of the different actors involved in the utterance of the film text. Projection is not the same everywhere, nor equal all the time. Its systems are in permanent interaction with environmental circumstances, neighboring structures, local cultures, and social economies. Thus the idea of projection as a universal, fully autonomous operation cannot hold. Each occurrence of projection adds nuance to a wider understanding of film screening technologies.

Many of today's artists display an affinity for the techniques and subjects of 1960s and 70s Conceptual art. Conceptual Art In The Netherlands And Belgium 1965-1975 takes a fresh look at the work of Bas Jan Ader, Carl Andre, Art & Language, John Baldessari, Marcel Broodthaers, Daniel Buren, Jan Dibbets, Gilbert & George, Joseph Kosuth, Sol Lewitt, Bruce Nauman, On Kawara, Edward Ruscha, Robert Ryman, Robert Smithson, Lawrence Weiner and others, in relation to the processes and themes of contemporary art. Considering the Netherlands as a melting pot for ideas and the importance of Dutch institutions in supporting and disseminating Conceptual art, this book excavates a rich seam in European art.

Capitalism could not exist without the coins, banknotes, documents, information graphics, interfaces, branding, and advertisements made by graphic designers. Even anti-consumerist strategies such as social design and speculative design are appropriated to serve economic growth. It seems design is locked in a cycle of exploitation and extraction, furthering inequality and environmental collapse. CAPS LOCK uses clear language and visual examples to show how graphic design and capitalism are inextricably linked. The book features designed objects and also examines how the study, work, and professional practice of designers support the market economy. Six radical design cooperatives are featured that resist capitalist thinking in their own way, hoping to inspire a more socially aware graphic design.

Illustrated with 200 stunning photographs and encompassing objects from furniture and ceramics to jewelry and metal, this definitive work from Jo Lauria and Steve Fenton showcases some of the greatest pieces of American crafts of the last two centuries. Potter Craft

Thoroughly revised and up-dated edition of a highly successful textbook.

A compendium of words, phrases, and local meanings has been culled from years of research, using thousands of interviews with representative American communities. Online index is at http://dare.wisc.edu/?q=node/18.

Like music, art is a universal language. Although looking at works of art is a pleasurable enough experience, to appreciate them fully requires certain skills and knowledge." --Carol Strickland, from the introduction to The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern * This heavily illustrated crash course in art history is revised and updated. This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media. * Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible-even at a cursory reading. * From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.

A renowned Soviet director discusses his theory of film as an artistic medium which must appeal to all senses and applies it to an analysis of sequences from his major movies.

Reflecting the expertise and perspective of five leading mammalogists, the fourth edition of Mammalogy: Adaptation, Diversity, Ecology significantly updates taxonomy, includes a new chapter on mammalian molecular phylogenetics, and highlights several recently described species. There are close to 5,500 species in the class Mammalia, including the blue whale—the largest animal that has ever lived—and the pygmy shrew, which weighs little more than a penny. The functional diversity of mammals has allowed them to play critical roles in every ecosystem, whether marine, freshwater, alpine, tundra, forest, or desert. Many mammal species are critically endangered and present complex conservation and management challenges. This book touches on those challenges, which are often precipitated by overharvesting and habitat loss, as well as emerging threats, such as the impact of wind turbines and white nose syndrome on bats and chronic wasting disease on deer. Among the updates and additions to the fourth edition of Mammalogy are numerous new photos, figures, and cladograms, over 4,200 references, as well as • A completely new chapter on mammalian phylogeny and genomics • Current taxonomy—including major changes to orders, suborders, and superfamilies of bats and rodents • An explanation of the recent inclusion of whales with terrestrial even-toed ungulates • Updates on mammalian structural, functional adaptations, and fossil history • recent advances in our understanding of phylogeny, biogeography, social behavior, and ecology • A discussion of two new orders and thirteen newly recognized extant families • Reflections on the implications of climate change for mammals • Thorough examinations of several recently described species, including Durrell's vontsira (Salanoia durrelli) and the Laotian rock rat (Laonastes aenigmamus) • An explanation of mammalian biomechanics, such as that seen in lunge feeding of baleen whales • Breakout boxes on unique aspects of mammals, including the syntax of bat songs, singing mice, and why there are no green mammals (unless we count algae-covered sloths) Maintaining the accessible, readable style for which Feldhamer and his coauthors are well known, this new edition of Mammalogy is the authoritative textbook on this amazingly diverse class of vertebrates.