R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.

R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.

"Harmony and Dissent: How Peacebuilders are Transforming their Worlds is a resource book and sampling of the world renowned peacebuilding Canadian School of Peacebuilding designed to engaged, equip and inspire peace and justice practitioners around the world. Formerly this was only accessible by attending the annual June school in Winnipeg, Canada. Each chapter of the book is authored by these peace leaders. It tells stories of inspiring peacework, offers case studies into communities embodying these lessons and offers the key resources that have helped shape these peace leaders. Authors include: Ovide Mercredi, Mubarak Awad, Stuart Clark, David Dyck, Martin Entz, Harry Huebner, Ouyporn Khuankaew, George Lakey, Ivo Markovic, Maxine Matilpi, Stan McKay, Piet Meiring, Sophia Murphy , Kay Pranis, and Karen Ridd."--

During the Song dynasty (960-1278), some of China's elite found an elegant and subtle means of dissent: landscape painting. By examining literary archetypes, painting titles, contemporary inscriptions, and the historical context, Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed.

This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.

Finalist, 2016 Ralph Waldo Emerson Award One of Bustle's Books For Your Civil Disobedience Reading List Examines the key role dissent has played in shaping the United States, emphasizing the way Americans responded to injustices Dissent: The History of an American Idea examines the key role dissent has played in shaping the United States. It focuses on those who, from colonial days to the present, dissented against the ruling paradigm of their time: from the Puritan Anne Hutchinson and Native American chief Powhatan in the seventeenth century, to the Occupy and Tea Party movements in the twenty-first century. The emphasis is on the way Americans, celebrated figures and anonymous ordinary citizens, responded to what they saw as the injustices that prevented them from fully experiencing their vision of America. At its founding the United States committed itself to lofty ideals. When the promise of those ideals was not fully realized by all Americans, many protested and demanded that the United States live up to its promise. Women fought for equal rights; abolitionists sought to destroy slavery; workers organized unions; Indians resisted white encroachment on their land; radicals angrily demanded an end to the dominance of the moneyed interests; civil rights protestors marched to end segregation; antiwar activists took to the streets to protest the nation’s wars; and reactionaries, conservatives, and traditionalists in each decade struggled to turn back the clock to a simpler, more secure time. Some dissenters are celebrated heroes of American history, while others are ordinary people: frequently overlooked, but whose stories show that change is often accomplished through grassroots activism. The United States is a nation founded on the promise and power of dissent. In this stunningly comprehensive volume, Ralph Young shows us its history.

Articulating Dissent analyses the new communicative strategies of coalition protest movements and how these impact on a mainstream media unaccustomed to fractured articulations of dissent. Pollyanna Ruiz shows how coalition protest movements against austerity, war and globalisation build upon the communicative strategies of older single issue campaigns such as the anti-criminal justice bill protests and the women's peace movement. She argues that such protest groups are dismissed in the mainstream for not articulating a 'unified position' and explores the way in which contemporary protesters stemming from different traditions maintain solidarity. Articulating Dissent investigates the ways in which this diversity, so inherent in coalition protest, effects the movement of ideas from the political margins to the mainstream. In doing so this book offers an insightful and original analysis of the protest coalition as a developing political form.

A study of the work of an independent, experimental filmmaker, delineating the aesthetic parallels between Brakhage's films and a broad spectrum of American art from the 1920s through the 1960s. Demonstrates the symmetry between Brakhage's films and the writings of William Carlos Williams, Ezra Pound, Gertrude Stein, Allen Ginsberg, and Michael McClure, and concentrates especially on his relation to the work of Charles Olson and Alfred North Whitehead. Includes a detailed, 20-page glossary. Annotation copyrighted by Book News, Inc., Portland, OR