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The symbolic meaning of plants, their relevance to religion and the metaphorical provocations in the order of knowledge, culture and political power underline the role of plants as something more than passive objects. Current theoretical and artistic discourses have been seeking access to the world independently of man by focusing on the nonhuman other. The contributors to this volume examine the historical, philosophical and scientific findings that generate this idea. In what way are such perspectives manifest in contemporary art? Do artists develop a particular approach that enables nonhuman life forms like plants, insects or animals to have an impact?

Over the course of a thirty-eight-year friendship, painter Beauford Delaney and writer James Baldwin shared their private lives and shaped one another's artistic values. Speculative Light brings together scholars, critics, and artists who analyze the stylistic and historical import of Delaney's and Baldwin's works and examine how this friendship fundamentally shaped the pair's ideas about art and life. The book's contributors explore how the two men, sharing identities as queer Black American artists, first in New York and then as expatriates in France, created a speculative space in their work to think about more just and creative Black futures. Essay topics and issues range from masculinity, queerness, Blackness, and Americanness to the relationship between jazz, painting, and writing. Throughout, the contributors establish a positive history for Delaney's and Baldwin's arts that refuses a subordinate role to white artists of the modernist avant-garde. Ultimately, Speculative Light demonstrates that Delaney and Baldwin's bond provides revolutionary grounds for theorizing contemporary Black art and life.Contributors. Hilton Als, Nicholas Boggs, Indie A. Choudhury, Shawn Anthony Christian, Rachel Cohen, Amy J. Elias, Monika Gehlawat, David Leeming, D. Quentin Miller, Fred Moten, Walton M. Muyumba, Robert O'Meally, Ed Pavlić, Levi Prombaum, Robert Reid-Pharr, Tyler T. Schmidt, Abbe Schriber, Jered Sprecher, Stephen C. Wicks, Magdalena Zaborowska

'Sets out the criteria and law surrounding orders and explains them clearly and in detail: it addresses an often overlooked area of the law but one that it is essential we understand and apply correctly.'Sir Brian Leveson, former President of the Queen's Bench Division, Head of Criminal Justice – in his Foreword to the first editionA Practitioner's Guide to Ancillary Orders in Criminal Courts sets out the law, application and analysis relating to ancillary orders that are available to criminal courts. It covers orders available on acquittal, such as Restraining Orders and Defence Costs Orders, as well as those available on conviction, such as Compensation Orders and Directors'Disqualification Orders.Many of these orders are available in the magistrates'courts as well as the Crown Court, therefore practitioners of all levels of experience and practice need to be aware of them. In addition to providing guidance on, and analysis of, those orders, this book also sets out the consequences of breaches.The Second Edition includes new coverage of the following orders:- Prohibition Order - Psychoactive Substances- Exclusion Order - Licensed PremisesThis book helps you to ensure that clients do not have an unwarranted or overly onerous order imposed on them. It is an easy reference guide for courts and advocates alike.

A monumental illustrated survey of the architecture of thirteenth- and fourteenth-century ChinaThe Yuan dynasty endured for a century, leaving behind an architectural legacy without equal, from palaces, temples, and pagodas to pavilions, tombs, and stages. With a history enlivened by the likes of Khubilai Khan and Marco Polo, this spectacular empire spanned the breadth of China and far, far beyond, but its rulers were Mongols. Yuan presents the first comprehensive study in English of the architecture of China under Mongol rule.In this richly illustrated book, Nancy Shatzman Steinhardt looks at cities such as the legendary Shangdu—inspiration for Samuel Taylor Coleridge's Xanadu—as well as the architecture the Mongols encountered on their routes of conquest. She examines the buildings and monuments of diverse faiths in China during the period, from Buddhist and Daoist to Confucian, Islamic, and Christian, as well as unusual structures such as observatories, archways, stone and metal buildings, and sarcophaguses. Steinhardt dispels long-standing views of the Mongols as destroyers of cities and architecture across Asia, showing how the khans and their families built more than they tore down. She demonstrates that the stipulations of the Chinese building system were powerful and resilient enough to guide the architecture that rose under Mongolian rule.Drawing on Steinhardt's groundbreaking textual research in numerous languages as well as her pioneering fieldwork at sites across East Asia, Yuan will become the standard reference on this critical period of cultural and artistic exchange.

In view of the ever-increasing use of interactive and emerging technologies in museum spaces, Museums and Technologies of Presence rethinks the role of such technologies as potential facilitators of presence and as vehicles for offering new, immersive, and embodied visitor experiences.This edited collection presents theoretical approaches and case studies that explore how presence can be experienced in museum spaces and what role technology can play in visitor experiences. It considers the theoretical underpinnings of the concept ‘presence'for museum spaces, offering a critical examination of how immersive and other emerging technologies can affect, diminish or enhance our sense of presence and embodiment. Through an international range of case studies and innovative projects, this volume considers emerging technologies – including virtual reality, augmented reality, interactive (multisensory) installations, and AI – alongside different aspects of presence, including immersion, embodiment, empathy, emotion, engagement, and affect.Taking an interdisciplinary approach, Museums and Technologies of Presence will be beneficial to those researching or studying in the fields of Museum Studies, Digital Humanities, Computer Science, Information Science, and Digital Media. It will also be useful to museologists, curators, and artists who are interested in developing immersive experiences, experimental new media, and immersive aesthetics.

French Technological Thought and the Nonhuman Turn traces a genealogy of thinking and writing about technology, which takes us from the French avant-gardes to the contemporary ‘nonhuman turn'in Anglo-American theory via the Surrealists, Gilbert Simondon, and Gilles Deleuze. Tracking the unruly transition from Catholic vocabularies of grace, potentiality, and actuality to the modern and contemporary secular lexicon of agency, virtuality, and affect, this book explores technology as a source of subject matter and conceptual metaphors, but also probes how ideas and words are modes of technicity through which we shape and reshape the world. Fusing literature, philosophy, and theology, it offers readers new contexts – and questions – for the egalitarian ontological commitments of contemporary post- and nonhuman thinking.

Future Jaw-Clap tells the story of a highly influential movement in New Zealand music: the self-made musicians of pioneering free jazz ensemble Primitive Art Group, who carved out their own radical musical language in the cold, hard reality of 1980s Wellington, and have gone on to richly diverse careers in music.From their beginnings as'the punks of jazz'in small clubs and the anti-nuclear and anti-apartheid protests of the early 1980s, through the heyday of the Braille Collective's many colourful groups, self-released records and intersections with dance, theatre and visual arts, to the Six Volts providing music for the iconic album Songs From the Front Lawn, and beyond, these musicians and the many others they have drawn into their orbit have done much to shape the music of Aotearoa.Based on a deep oral history project and extensive archival research, and vividly illustrated with photographs and other items, Future Jaw-Clap is a portal into an extraordinary musical world, and a celebration of a vibrant living tradition.

This book explores the great influence of twentieth-century artists and art movements on many major writers of the twentieth century. It focuses in particular on four seminal writers who were strongly influenced by very different movements: they are Gertrude Stein and Cubism, William S. Burroughs and Dada, J. G. Ballard and Surrealism, and Douglas Coupland and Pop Art. For these authors the presence and influence of these art movements is not limited to a small cluster of texts, but can be felt much more expansively across their work, infiltrating all manner of multifarious and complex dimensions. These authors are all keen to explore new methods of shifting the signature styles and forms of visual art into the literary world. Alongside these more overt methods of artistic transposition, the authors also often demonstrate a deep philosophical affinity with their chosen movements. This book uproots and examines these kinds of artistic engagements, and also explores the authors'own personal connections with the world of art. For these are all authors not only interested in visual art, but also intimately connected to the art world. Indeed, some went on to become renowned artists in their own right, while others were closely associated with major historical art figures. Above all however, they are unified by a kindred interest in exploring how the methods and philosophies of art can be transposed into, and even challenge the constraints of traditional forms of literature.

This volume explores the relationship between oneiric and historical episodes of atrocity as depicted in transnational twentieth- and twenty-first-century art, film, literature and theatre. Examining the political and aesthetic power harnessed by dreams in increasingly ‘dark times', it takes as its starting point the overlooked significance granted to the oneiric beyond Freudian psychoanalysis. By reading the oneiric within variously known cultural texts – including Holocaust fiction, world cinema, Bronx theatre, surrealist art and two collections of wartime dream transcriptions – the volume also offers a renewed perspective on modern and contemporary trauma. In so doing, it demonstrates the relevance of the oneiric, beyond the interpretative framework of psychoanalysis, as an aesthetic and political tool with which to alert us and respond to the violence of our contemporary world.

This collection of essays explores the hotel as a site of modernity, a space of mobility and transience that shaped the transnational and transcultural modernist activity of the first half of the twentieth century. As a trope for social and cultural mobility, transitory and precarious modes of living, and experiences of personal and political transformation, the hotel space in modernist writing complicates binaries such as public and private, risk and rootedness, and convention and experimentation. It is also a prime location for modernist production and the cross-fertilization of heterogeneous, inter- and trans- literary, cultural, national, and affective modes. The study of the hotel in the work of authors such as E. M. Forster, Katherine Mansfield, Kay Boyle, and Joseph Roth reveals the ways in which the hotel nuances the notions of mobilities, networks, and communities in terms of gender, nation, and class. Whereas Mary Butts, Djuna Barnes, Anaïs Nin, and Denton Welch negotiate affective and bodily states which arise from the alienation experienced at liminal hotel spaces and which lead to new poetics of space, Vicki Baum, Georg Lukács, James Joyce, and Elizabeth Bishop explore the socio-political and cultural conflicts which are manifested in and by the hotel. This volume invites us to think of “hotel modernisms” as situated in or enabled by this dynamic space. Including chapters which traverse the boundaries of nation and class, it regards the hotel as the transcultural space of modernity par excellence.

Ähnlichkeit ist ein zentrales, doch theoretisch oft marginalisiertes ästhetisch-epistemologisches Paradigma, das Literatur-, Kunst- und Kulturwissenschaften aktuell vermehrt in den Blick nehmen. Wird sie dabei meist als epistemologisch vormodern eingeschätzt, so wurde auf eine moderne „Ästhetik des Ähnlichen'(Funk et al., 2001) verwiesen. Ausgehend von dem Befund, dass Ähnlichkeit gerade im Milieu des Surrealismus eine bemerkenswerte Konjunktur entfaltet, wird untersucht, wie sie in dessen transversaler Programmatik von rationalen, repräsentationalen und identitären Maßstäben freigesetzt wird. Anschließend an Überlegungen zu einer theoretischen Konturierung der Ähnlichkeit werden die Vorgeschichte der modernen Ästhetik und Epistemologie des Ähnlichen skizziert und konzeptuelle Dimensionen der Ähnlichkeitskonzepte Metapher, Metamorphose, Simulacrum und Mimikry erarbeitet. Im zweiten Teil wird deren ‚entgrenzter‘ Einsatz in Texten und Bildern André Bretons, Max Ernsts, René Magrittes und Roger Caillois'aufgezeigt. Die Studie bietet einen Überblick über Ähnlichkeitsreflexionen seit der Antike und versteht sich als Teil der Forschungsbemühungen um eine Re-Evaluierung der Ähnlichkeit und ihrer Persistenz in der ästhetischen Moderne.

A Critical Companion to Julie Taymor is the most updated and holistic volume on the director currently published. Situating Taymor's work within the intersections of story and spectacle, contributors to this collection examine issues of creativity, gender, sexuality, and adaptation by focusing on themes from Taymor's oeuvre including martyrdom, musicality, fidelity, postmodern representations, feminism and queerness, identity, desire, trauma, revenge, hybridity, and obscenity. The result reveals Julie Taymor to be a globally-influenced American director who exhibits and exemplifies the authentic artistry of ingenious storytelling and deserves scholarly attention. This work will be of particular interest to scholars of film, philosophy, popular culture, gender, feminisms, and queer identities.

This book explores the historical interrelationships between mathematics, medicine and media, and offers a unique perspective on how video compression has shaped our relationship with moving images and the world. It situates compression in a network of technological, visual and epistemic practices spanning from late 18th-century computational methods to the standardization of electrical infrastructure and the development of neurology throughout the 1900s. Bringing into conversation media archaeology, science and technology studies, disability studies and queer theory, each chapter offers an in-depth look at a different trace of compression, such as interlacing, macroblocking or flicker. This is a story of forgotten technologies, unusual media practices, strange images on the margins of visual culture and inventive ways of looking at the world. Readers will find illuminating discussions of the formation of complex scientific and medical systems, and of the violent and pleasurable interactions between our bodies and media infrastructure.