"It is clear that serious research, as well as much imagination, went into every page. It has become my new ‘go-to’ bible when I need a shot of inspiration." Ken Oringer, internationally renowned and award-winning chef Clio Restaurant, Uni Sashimi Bar, Boston "Congratulations on writing such an aesthetically beautiful, informative and inspiring book. ... I shall not hesitate to recommend your book to those colleagues, who like me, are fascinated by Sushi and who will surely be captivated, like me, turning every page." Dr. Ian C. Forster, April, 2011 • • • In recent decades, sushi has gone from being a rather exotic dish, eaten by relatively few outside of Japan, to a regular meal for many across the world. It is quickly gathering the attention of chefs and nutritionists everywhere. It has even made its way into numerous home kitchens where people have patiently honed the specialized craft required to prepare it. Few have been more attuned to this remarkable transition than Ole G. Mouritsen, an esteemed Danish scientist and amateur chef who has had a lifelong fascination with sushi’s central role in Japanese culinary culture. Sushi for the eye, the body, and the soul is a unique melange of a book. In it, Mouritsen discusses the cultural history of sushi then uses his scientific prowess to deconstruct and explain the complex chemistry of its many subtle and sharp taste sensations. He also offers insights from years of honing his own craft as a sushi chef, detailing how to choose and prepare raw ingredients, how to decide which tools and techniques to use, and how to arrange and present various dishes. Sushi is irresistible for both its simplicity and the hypnotic performance-art aspects that go into its preparation. With clear prose and straightforward instructions, Mouritsen looks at every facet of sushi in a book that is as accessible as it is informative, as useful as it is fun.

A visual and written record of the work of pioneer painter-performance artist Carolee Schneemann.

This volume offers introductions to the work of fifteen avant-garde American women filmmakers.

This publication has been produced on the occasion of the retrospective exhibition at the Museum der Moderne Salzburg, encompassing more than six decades of the œuvre of the influential American artist Carolee Schneemann (born 1939). In it, renowned scholars and experts approach various aspects of the artist's work based on new research. Starting with Schneemann's early portraits and landscapes of the 1950s, the book traces the developments that led to the assemblages and painting constructions created in the 1960s. During this period, she combined painterly investigations of the figure with art historical inquiries while incorporating photographs and other objects of personal significance into her works. An early proponent of techniques designed to reduce the influence of subjective creative choices, she resorted to unusual expedients: fire, for example, became a constitutive part of her process. Schneemann's ambition to expand painting beyond the canvas's confines was evident early on, and her explorations quickly encompassed other media and disciplines including dance, performance, photography, and film. She was a leading protagonist in New York's downtown avant-garde arts scene, which flourished in these fields, while also synthesizing different disciplines in the forms of Happenings and events. Schneemann soon became a vital element in the visual compositions that, in the role of artist, she was creating, posing herself the question “Can I be both image and image-maker?” The same irreverent spirit and embrace the sensuality is palpable in her experimental films, dances, Kinetic Theater pieces, and radical performances, culminating in her multimedia installations, all of which can be seen to grow out of her efforts to expand painting. --

In this Body of Evidence Thriller, college-age sleuth Jenna Blake tackles a crime wave in the Boston area that appears to be the work of the living dead. Jenna has to piece together an explanation for these zombie crimes. The dead can't really rise from their graves--or can they?

This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?

Sheds light on the critical role that women artists have played in the evolution of the American avant-garde

An examination of the pervasive anxiety about and fixation with time seen in 1960s art. In the 1960s art fell out of time; both artists and critics lost their temporal bearings in response to what E. M. Cioran called "not being entitled to time." This anxiety and uneasiness about time, which Pamela Lee calls "chronophobia," cut across movements, media, and genres, and was figured in works ranging from kinetic sculptures to Andy Warhol films. Despite its pervasiveness, the subject of time and 1960s art has gone largely unexamined in historical accounts of the period. Chronophobia is the first critical attempt to define this obsession and analyze it in relation to art and technology. Lee discusses the chronophobia of art relative to the emergence of the Information Age in postwar culture. The accompanying rapid technological transformations, including the advent of computers and automation processes, produced for many an acute sense of historical unknowing; the seemingly accelerated pace of life began to outstrip any attempts to make sense of the present. Lee sees the attitude of 1960s art to time as a historical prelude to our current fixation on time and speed within digital culture. Reflecting upon the 1960s cultural anxiety about temporality, she argues, helps us historicize our current relation to technology and time. After an introductory framing of terms, Lee discusses such topics as "presentness" with repect to the interest in systems theory in 1960s art; kinetic sculpture and new forms of global media; the temporality of the body and the spatialization of the visual image in the paintings of Bridget Riley and the performance art of Carolee Schneemann; Robert Smithson's interest in seriality and futurity, considered in light of his reading of George Kubler's important work The Shape of Time: Remarks on the History of Things and Norbert Wiener's discussion of cybernetics; and the endless belaboring of the present in sixties art, as seen in Warhol's Empire and the work of On Kawara.