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Books on the topic 'Visual Company'

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Author: Grafiati
Published: 14 March 2023

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1

1901-1966, Disney Walt, ed. Disney: The ultimate visual guide. London: Dorling Kindersley, 2002.

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2

Pictorial Webster's: A visual dictionary of curiosities. San Francisco, CA: Chronicle Books, 2009.

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3

Paul, Trynka, ed. Denim: From cowboys to catwalks : a visual history of the world's most legendary fabric. London: Aurum, 2002.

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4

United States. Environmental Protection Agency. Office of Research and Development., ed. Visual function studies during exposure to a mixture of diabasic esters (DBE) in Long-Evans rats: Cooperative research and development agreement with E.I. Du Pont de Nemours & Company. Washington, DC: U.S. Environmental Protection Agency, Office of Research and Development, 1994.

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5

Merriam-Webster's compact visual dictionary. Springfield, Mass: Merriam-Webster, 2008.

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6

Murray, William H. Compact guide to Visual Basic 4. Boston: AP Professional, 1996.

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7

1936-2006, Archambault Ariane, ed. Le visuel compact: Dictionnaire thématique français. Montréal: Québec/Amérique, 1995.

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8

National Film, Video, and Sound Archives (South Africa). Gids op kompakskywe in die Nasionale Film-, Video- en Klankargief =: Guide to compact discs in the National Film, Video, and Sound Archives / National Archives of South Africa. Pretoria: Nasionale Argief van Suid-Afrika, 1997.

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9

Cingari, Salvatore, ed. Cultura democratica e istituzioni rappresentative. Florence: Firenze University Press, 2007. http://dx.doi.org/10.36253/978-88-8453-561-0.

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Il volume è un testo interdisciplinare a più autori che effettua una comparazione fra le due differenti vie novecentesche alla modernizzazione di Italia e Romania - variamente ispirate da modelli esterni di riferimento -, dal punto di vista politologico, culturale-politico, politico-istituzionale e politico-economico, con particolare riferimento al problema della rappresentanza. Il volume si compone di sei saggi di diversa ispirazione metodologica ed ideologica ma accomunati dalla tematizzazione dei contesti culturali e giuridico-politici dei due paesi, intesi come sistemi in "transizione", sospesi fra ricerca delle proprie caratteristiche storiche e l'attenzione ai modelli più avanzati del mondo occidentale.
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10

Davidson, Homer L. Troubleshooting and repairing audio equipment. Blue Ridge Summit, PA: TAB Books, 1987.

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11

Schaefer-Simmeren, Henry. Consciousness of artistic form: A comparison of the visual, gestalt art formations of children, adolescents, and layman adults with historical art, folk art, and aboriginal art. Edited by Schaefer-Simmern Gertrude, Abrahamson Roy E, and Fein Sylvia. Berkeley, CA: Gertrude Schaefer-Simmern Trust, 2003.

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12

In Company. Macmillan ELT, 2002.

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13

Watson, Veronique C. V. Corporate and visual identity, a company asset?. Bradford, 1988.

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14

Disney: The ultimate visual guide. London: Dorling Kindersley, 2002.

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15

Audio visual: ICC Financial Survey company data for success. Hampton: ICC Financial Surveys, 1990.

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16

Beyond graphic design. Tokyo: Process Architecture Co., Ltd., 1994.

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17

Sussman and Prejza & Company. Beyond Graphic Design (Process Architecture , No 124). Books Nippan, 1995.

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18

Erie Railway Tourist, 1854-1886: Transporting Visual Culture. Lehigh University Press, 2018.

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19

Suematsu, Michiko. Verbal and Visual Representations in Modern Japanese Shakespeare Productions. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.32.

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Despite growing interest in Asian Shakespeare performances, the intercultural strategy of Asian Shakespeare has largely been discussed from a scenographic perspective due to its powerful visual representations that transcend cultural boundaries. This chapter aims to correct the overemphasis on visual representation in critical assessment of Japanese Shakespeare performances by discussing, first, the presence of language in Yukio Ninagawa’s Shakespeare productions, and, second, the characteristic use of dramatic texts in productions by the Ku Na’uka Theatre Company, Mansai Nomura, and the Shakespeare for Children Company, which each demonstrate bold and unique modes of engagement with the text. The chapter finally discusses whether or not there is a uniquely Japanese theatrical response to the text and, if so, what cultural factors lie behind it.
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20

Oh, Jonghak, and Itcec Contents Team. Visual Artificial Intelligence: Patent-Thesis Analysis, Global Trend, Technical Strengths and Weaknesses of Each Country and Company. Independently Published, 2018.

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21

Marsh, Graham, and Paul Trynka. Denim: From Cowboys to Catwalks, A Visual History of the World's Most Legendary Fabric. Aurum Press, 2002.

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22

Le Visuel Compact : Dictionnaire Bilingue en Francais et Anglais / The Compact Visual Dictionary in English and French. French & European Pubns, 2003.

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23

Merriamwebsters Compact 5language Visual Dictionary. Merriam-Webster, 2010.

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24

Forsyth, Valerie. Compact Visual Dictionary of Expressive Worship. Xulon Press, 2013.

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25

Visual Control Systems (Visual Control Innovations in Japan's Most Advanced Companie). Productivity Press, 1995.

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26

Pappas, Chris H. Compact Guide to Visual Basic 4 (Compact Guide Training Series). Morgan Kaufmann Publishers, 1996.

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27

Compact Guide to Visual Basic 4 (Compact Guide Training Series). Morgan Kaufmann Publishers, 1996.

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28

Macro Economics Compact Facts Study Cards Pack (Visual Education). Vis. Ed, 2000.

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29

Vb 4 Windows Api Programming/Book and Compact Disk. Que Pub, 1995.

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30

Butler, C. Woody, Ibrahim Malluf, and Bill Potter. Visual Basic 4 Objects & Classes: Superbible/Book and Compact Disc (Visual Basic 4 Objects & Classes SuperBible). Waite Group Press, 1995.

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31

Gracey, James. The Company of Wolves. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325314.001.0001.

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Co-written by Irish filmmaker Neil Jordan and British novelist Angela Carter, and based on several short stories from Carter's collection The Bloody Chamber, The Company of Wolves (1984) is a provocative reinvention of the fairy tale of Little Red Riding Hood. Unraveling a feverish metaphor for the blossoming of a young girl's sexuality and her subsequent loss of innocence, the film entwines symbolism and metaphor with striking visuals and grisly effects. Released in the early 1980s, a time which produced several classic werewolf films (including An American Werewolf in London and The Howling), The Company of Wolves sets itself apart from the pack with its overtly literary roots, feminist stance, and art-house leanings. The film's narrative takes the form of a puzzle box, unfolding as dreams within dreams, and stories within stories, which lead further into the dark woods of the protagonist's psyche, as she finds herself on the cusp of womanhood. The book explores all these aspects, as well as placing the film in the context of the careers of its creators and its position as an example of the “Female Gothic.”
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32

Creating Visual Foxpro 3 for Windows Applications/Book and Compact Disk. Que Pub, 1996.

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33

.NET Compact Framework Programming with Visual Basic .NET (Microsoft .NET Development Series). Addison-Wesley Professional, 2004.

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34

Volz, Jim. Introduction to Arts Management. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474239820.

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Introduction to Arts Management offers a unique, dynamic and savvy guide to managing a performing or visual arts organization, be that an arts center, theatre, museum, art gallery, symphony orchestra, or other arts company. For those training to enter the industry, workers in arts administration, or those seeking to set up their own company, the wealth of expert guidance and direct, accessible style of this authoritative manual will prove indispensable. Gathering best practices in strategic planning, marketing, fundraising and finance for the arts, the author shares practical, proven processes and valuable tools from his work with over 100 arts companies and professional experience producing over 100 music, dance, theatre and visual arts events. Unique features include: boilerplate guides for marketing and fundraisinga sample Board of Trustee contractspecific budget checklistsday-to-day working tools that can be immediately instituted in any arts organizationresources at the end of each chapter designed to help readers consider and implement the strategies in their own practice. Interviews with arts leaders offer insights into the beginnings and growth of significant arts institutions, while examples based on real situations and successful arts organizations from both North America and Britain illustrate and underpin the strategic and practical advice. Expanded from the author’s highly successful How to Run a Theatre, this edition offers both trainees and seasoned professionals the hands-on strategic leadership tools needed to create, build and nurture a successful career in the challenging world of arts administration and management.
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35

The World is a Text : Writing About Visual and Popular Culture: Updated Compact Edition. Broadview Press, 2018.

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36

Hudson, Dale. “Making” Americans from Foreigners. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0003.

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Although conventional studies look to the earliest surviving vampire film, Prana-Films’ Nosferatu (1922) as source for visual codes and narrative conventions in Hollywood vampire media, this chapter locates them in segregation comedies, immigration romances, and miscegenation melodramas. These films establish conventions that facilitate or inhibit foreigners being americanized. Since citizenship for women was derivative from fathers or husbands, foreign women were considered less threatening. Consequently, male immigrants in Edison Company shorts (1895–1896), industrial and state recruitment films, and commercial entertainments, such as Alice Guy-Blaché’s Making an American Citizen (1912), Cecil B. DeMille’s The Cheat (1915), D.W. Griffith’s Broken Blossoms (1919), and George Melford’s The Sheik (1921), serve as cinematic prototypes for classical Hollywood’s vampires. Within these narratives of americanizing foreigners, the afterlives of race emerge in relation to sex and nativity around issues of universal citizenship and sovereign territory.
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37

Guins, Raiford. Atari Design. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781474284561.

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Drawing from deep archival research and extensive interviews, Atari Design is a rich, historical study of how Atari’s industrial and graphic designers contributed to the development of the coin-op cabinet. Innovative game design played a key role in the growth of Atari – from Pong to Asteroids and beyond – but fun, challenging, and exciting game play was not unique to the famous Silicon Valley company. What set it apart from its competitors was innovation in cabinet design. Atari did not just make games, it designed products for environments. With “tasteful packaging”, Atari exceeded traditional locations like bars, amusement parks, and arcades, developing the look and feel of their game cabinets for new locations such as fast food restaurants, department stores, country clubs, university unions, and airports, making game-play a ubiquitous social and cultural experience. By actively shaping the interaction between user and machine, overcoming styling limitations and generating a distinct corporate identity, Atari designed products that impacted the everyday visual and material culture of the late 20th century. Design was never an afterthought at Atari.
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38

Gleeson-White, Sarah, and Pardis Dabashi, eds. The New William Faulkner Studies. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108881654.

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William Faulkner remains one of the most important writers of the twentieth century, and Faulkner Studies offers up seemingly endless ways to engage anew questions and problems that continue to occupy literary studies into the twenty-first century, and beyond the compass of Faulkner himself. His corpus has proved particularly accommodating of a range of perspectives and methodologies that include Black studies, visual culture studies, world literatures, modernist studies, print culture studies, gender and sexuality studies, sound studies, the energy humanities, and much else. The fifteen essays collected in The New William Faulkner Studies charts these developments in Faulkner scholarship over the course of this new century and offers prospects for further interrogation of his oeuvre.
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39

McFarlane, Brian. The Films of Fred Schepisi. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835352.001.0001.

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Fred Schepisi is a crucial name associated with the ‘revival’ of the Australian film industry in the 1970s. This book traces the lead-up to Schepisi’s critical successes in feature-filmmaking via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. A minor biographical element considers Schepisi’s early education in a Catholic seminary, which he drew on in his semi-autobiographical film, The Devil’s Playground, the success of which launched him as an exciting new feature director. The book then charts Schepisi’s development as a director in demand in other countries, notably in the US and the UK, as well as continuing to make major films in Australia. His career is in this way symptomatic of Australian directors who have made their presence felt on the international stage. What follows here is a critical account of Schepisi’s film output and the context in which it has taken place, with the co-operation of Schepisi and some of his key collaborators. The book details production histories, an account of the finished films, and a sense of how the films were received (both critically and popularly). Author Brian McFarlane explores the recurring thematic, narrative, and visual elements that have helped to characterize Schepisi as artist and craftsman.
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40

Fielder, Grace E., Christina E. Kramer, Liljana Mitkovska, and Phillip Hammonds. Macedonian: A Course for Beginning and Intermediate Students-Compact Disk. University of Wisconsin Press, 2000.

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41

Garipzanov, Ildar. The Origins of Early Christian Graphic Signs. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198815013.003.0002.

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The first two sections delineate the early history of the nomina sacra, staurogram, and chi-rho, from the late first to third centuries AD as well as relevant early Christian discourse on the symbolic meanings of certain letters and graphic signs, and show how the staurogram and chi-rho developed from utilitarian abbreviation signs into symbolic visual proxies for God and Christological concepts. The next two sections provide an overview of the use of graphic signs as protective seals among various religious communities, with reference to artefacts such as the Bruce Codex and votive leaves from Water Newton, and compare the early usage of more acceptable Christian signs with the concurrent culture of the so-called ‘magical’ characteres. The final section underscores that the early development of Christian graphicacy should be seen in the context of a general predilection for apotropaic graphic devices in the Imperial period, and in late antiquity in particular.
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42

Courage, Richard A., and Christopher Robert Reed. Roots of the Black Chicago Renaissance. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.001.0001.

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This anthology engages questions about origins of the Black Chicago Renaissance (1930-1955) from wide-ranging disciplinary perspectives. It traces a foundational stage from the 1893 World’s Columbian Exposition to onset of the Depression. Eleven essays contribute to recovering understudied black artists and intellectuals, remapping African American cultural geography beyond and before 1920s Harlem, and reconceptualizing the paradigm of urban black renaissance. Contributors probe the public lives and achievements, class and family backgrounds, education and training, areas of residency, and institutional affiliations of such African American cultural pioneers as writers Fannie Barrier Williams, James David Corrothers, Ida B. Wells-Barnett, and Fenton Johnson; visual artists William E. Scott, Charles C. Dawson, and King Daniel Ganaway; and dance teacher Hazel Thompson Davis. Organized chronologically and deploying rich archival explorations, these essays unearth local resonances of such world-changing events as the Columbian Exposition, First World War, Great Migration, 1919 Red Summer, and Jazz Age. They identify internally-generated, transformative forces that supported emergence of creative individuals and cultural circles committed to professional work in arts and letters. These individuals were often identified with the appellation “New Negro,” whose multiple (sequential, overlapping) meanings are explored in relation to the formation and growth of a geographically compact, racially homogenous, and increasingly autonomous Black Metropolis.
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43

Block, Marcelline, and Jennifer Kirby, eds. ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.001.0001.

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The acclaimed French auteur behind the mind-bending modern classic Eternal Sunshine of the Spotless Mind (2004), for which he won an Academy Award for Best Original Screenplay, Michel Gondry has directed innovative, ground-breaking films and documentaries, episodes of the acclaimed television show Kidding and some of the most influential music videos in the history of the medium. In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational and transcultural auteur whose work provides insight into both French/European and American cinematic and cultural identity. With detailed case studies of films such as Eternal Sunshine of the Spotless Mind (2004), Dave Chappelle’s Block Party (2005), The Science of Sleep (2006), Be Kind Rewind (2008), Mood Indigo (2013) and Microbe & Gasoline (2015), the book examines significant themes throughout Gondry’s filmography including surrealism, adaptation, memory, dreams, play and African-American identity. The book compares Gondry to other filmmakers including Wes Anderson and Jean Vigo, allowing for an understanding of how Gondry’s films might compare with both his global contemporaries and his predecessors in French and international cinema. Furthermore, the book demonstrates how Gondry’s work in narrative film, documentary and music video represents significant innovation in narrative, visual aesthetic, and genre.
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44

Broadbent, Jeffrey. Comparative Climate Change Policy Networks. Edited by Jennifer Nicoll Victor, Alexander H. Montgomery, and Mark Lubell. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780190228217.013.38.

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This chapter explains the method of policy network (PN) analysis and its benefits (and limits) for cross-national comparative analysis. The purpose of the PN approach is to understand how the structure of relationships among organizations engaged in a policy domain affects the content of policy and outcomes. The chapter illustrates the use of the PN method with reference to the ongoing cross-national project Comparing Climate Change Policy Networks (Compon). Global climate change constitutes an (un)naturally occurring quasi-experiment; in the face of a common threat, the various societies have exhibited divergent responses to reducing the cause, carbon emissions. This research project and network method can provide knowledge helpful to global negotiations as well as open up new vistas on thorny theoretical questions about the behavior and outputs of political systems.
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45

Grazzi, Matteo, Simone Sasso, Diana Hidalgo, and Kimberley Ballantyne. CO.NECTA: La guía para equipos de emprendedores creativos en América Latina y el Caribe: Construir relaciones. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003275.

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CO.NECTA es una guía para equipos de emprendedores creativos de América Latina y el Caribe desarrollada por el BID y NESTA. Su objetivo es apoyar a los equipos creativos para desarrollar nuevas formas de trabajar, expandir y fomentar sus relaciones internas y externas y construir estrategias para sostener sus empresas. CO.NECTA ha sido diseñada con un enfoque modular, pensada para uso práctico según sea necesario. Cada módulo, sección e incluso objetivo de aprendizaje ha sido ideado para funcionar de manera independiente. Se compone de tres módulos: construir un equipo creativo; construir relaciones; y construir un emprendimiento sostenible. En construir relaciones, considerarán su empresa desde un punto de vista externo. Este módulo les ayudará a dirigirse a su público, comprender cómo sus clientes perciben lo que su empresa tiene para ofrecer y conocer a los actores en su ecosistema.
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46

Ross, Stephen J. Invisible Terrain. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.001.0001.

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In his debut collection, Some Trees (1956), John Ashbery poses a question that resonates across his oeuvre and much modern art: “How could he explain to them his prayer / that nature, not art, might usurp the canvas?” When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists—from the Dadaists to the 1960s neo-avant-gardists and beyond—who have dreamed the paradoxical dream of turning art into nature. Invisible Terrain examines Ashbery’s poetic mediation of this fantasy, reading his work alongside an array of practitioners, from Wordsworth to Warhol, as an exemplary case study of avant-garde transvaluation of Western nature aesthetics. Ashbery takes his coordinates from a constellation of British, American, and continental European poetic and visual art practices—from romantic nature poet John Clare’s presentational immediacy to the French “New Realism” movement’s “direct appropriation of the real” in the early 1960s—that share an emphasis on somehow transforming the material of art into a “second nature.” Nature, as Ashbery and his company understand it, is a vanguard horizon, a metaphor for art, that which lies beyond “art as we know it.” The fact that the artist can never realize this aesthetic fiction—which overturns what we generally mean by “art” and “nature”—makes it all the more powerful as a tool for staking out the limits of art. In chronicling Ashbery’s articulation of “a completely new kind of realism,” Invisible Terrain tells the larger story of nature’s transformation into a resolutely unnatural aesthetic resource in twentieth-century art and literature. But in documenting Ashbery’s eventual turn against this avant-garde tradition—most conspicuously in his archive of campy, intentionally “bad” nature poems—the project also registers queer resistance to the normative concept of nature itself as a governing conceit for art. The story begins in the late 1940s with the Abstract Expressionist valorization of process, surface, and immediacy—summed up by Jackson Pollock’s famous quip, “I am Nature”—that so influenced Ashbery’s early quest for transparent, anti-mimetic modes of composition. It ends with “Breezeway,” a poem about Hurricane Sandy and climate change. Along the way, Invisible Terrain documents Ashbery’s strategic literalization of the stream-of-consciousness metaphor, his pastoral dispersal of the lyric subject during the politically fraught Vietnam era, and his investment in “bad” nature poetry.
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47

Schaefer-Simmern, Henry, Gertrude Schaefer-Simmern, Roy E. Abrahamson, and Sylvia Fein. Consciousness of Artistic Form: A Comparison of the Visual, Gestalt Art Formations of Children, Adolescents, and Layman Adults With Historical Art, Folk Art, and Aboriginal Art. Gertrude Schaefer-Simmern Trust, 2003.

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48

Consciousness of Artistic Form: A Comparison of the Visual, Gestalt Art Formations of Children, Adolescents, and Layman Adults With Historical Art, Folk Art, and Aboriginal Art. Gertrude Schaefer-Simmern Trust, 2003.

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49

Rueda, María de los Ángeles de, ed. Revoluciones, apropiaciones y críticas a la modernidad. Editorial de la Universidad Nacional de La Plata (EDULP), 2015. http://dx.doi.org/10.35537/10915/49067.

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El libro de cátedra es un documento de compilación de los temas fundamentales trabajados por los docentes de la asignatura Historia de las Artes Visuales 3, 6 y 7 (del Profesorado y la Licenciatura en Artes Plásticas de la Facultad de Bellas Artes de la Universidad Nacional de La Plata) y sobre la bibliografía básica y complementaria de las asignaturas Historia del Arte 6 y 7 (del Profesorado y Licenciatura en Historia del Arte, orientación Artes Visuales de la misma unidad académica); cuenta además con la colaboración de docentes invitados de la cátedra de Historiografía I-III de la carrera de Historia del Arte. El título del libro, <i>Revoluciones, apropiaciones y críticas a la modernidad, Itinerarios del Arte moderno entre América Latina y Europa 1830-1945</i>, se fundamenta en la mirada que se imprime. Es una propuesta comparativa y focalizada en los diversos modos de manifestar el ser de su tiempo y el pertenecer adentro y afuera del arte latinoamericano y argentino en el contexto de la modernidad occidental. Se trata de comprender el período desde las diferentes apropiaciones de la modernidad entre América Latina, Argentina y Europa. El libro se compone de una introducción, una primera parte con cinco capítulos en los que se desarrollan momentos y aspectos del siglo XIX, la conformación de un campo artístico moderno europeo, latinoamericano y argentino, la dialéctica de los estilos, las trasformaciones de los modos de representación, la modernidad técnica y la entrada a las vanguardias históricas, se ponen en discusión los conceptos de modernidad y vanguardia, sus aplicaciones a momentos, artistas y modos de producción, seleccionados por los autores de acuerdo a la idea de visión prismática, de detalle. Sigue la segunda parte, con ocho capítulos en los que se recorren, en forma general y haciendo foco en algunos casos, los tránsitos de artistas, obras y movimientos de las modernidades y vanguardias- otras latinoamericanas, en tono con lo que se trabaja en las clases. Se espera contribuir con este itinerario a la formación de una historia de las artes visuales modernas desde lo local y a través de la mirada de los docentes que participan en esta edición y de los alumnos que transitan y han transitado por este camino.
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50

Rueda, María de los Ángeles de, and Magdalena Pérez Balbi, eds. Figuraciones de una modernidad descentrada. Editorial de la Universidad Nacional de La Plata (EDULP), 2018. http://dx.doi.org/10.35537/10915/69402.

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El libro de la cátedra de Historia de las Artes Visuales III de la Facultad de Bellas Artes de la UNLP se titula Figuraciones de una Modernidad Descentrada: derivas sobre algunos temas de las artes visuales en América Latina y Europa, entre 1850-1950. Se presenta como continuidad de contenidos y enfoques elaborados en el primer volumen, titulado <i>Revoluciones, apropiaciones y críticas a la modernidad. Itinerarios del arte moderno entre América Latina y Europa (1830-1945)</i>. Como ya se subraya en dicho texto, la asignatura se compone de cuatro módulos o bloques temáticos: la idea de modernidad, las periodizaciones, ciclos y narrativas en las artes visuales, el proceso de consolidación y trasformación del arte moderno durante el siglo XIX en Europa y América Latina; el ciclo de las vanguardias históricas europeas y las producciones artísticas latinoamericanas entre el cosmopolitismo y el regionalismo en la primera mitad del siglo XX. Los temas abordados en este libro, enmarcados en el cuarto módulo, exploran algunos aspectos del resto de los contenidos posibles; la estrategia comparativa entre América Latina, Argentina y Europa se establece a partir de algunos tópicos y subtemas haciendo hincapié en un eje sincrónico descentrado y en una deriva de sentido y de articulaciones. Por lo tanto, esta nueva propuesta del libro de cátedra aborda el estudio y la reflexión de algunos caminos y experiencias de la modernidad artística desde una perspectiva que invierte el eje Europa- Latinoamérica, a partir de los conceptos de modernidades paralelas y simultáneas, el regionalismo, la antropofagia y las apropiaciones críticas de las narrativas y operaciones dominantes de la historia del arte. La cátedra observa el Arte moderno a través de los conceptos de tensión, revolución y regionalismo crítico. En esta oportunidad, se propone acercar una mirada a las respuestas artísticas a las relaciones de poder, entre las culturas centrales y las periféricas desde el desarrollo de algunas temáticas opacadas, géneros subestimados y dispositivos no considerados habitualmente; se trata de enfocar el estudio sobre obras que han dado respuestas dinámicas a los procesos de modernidad, modernización e identidad. El propósito es que los alumnos y alumnas puedan encontrar una metodología de estudio y comprensión de una historia del arte en construcción permanente, desde el análisis de una imagen, un proceso, un contexto crítico, a través del desplazamiento de la mirada.
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