Initiation period (1914- 1935): Geologists' artistic accomplishment reflected by hand-drawn maps -- Exploration period (1936- 1954): the first step towards standardization -- Growth period (1955-1994): maps displaying more information and printed in more standard way -- Leaping forward period (1995 to date): moving into digital mapping and digital cartography era.Open AccessThis open access boo…
1 Introduction -- 2 United States v. Portrait of Wally -- 3 Altmann v. Republic of Austria -- 4 Westfield v. Federal Republic of Germany -- 5 Orkin v. Taylor -- 6 Von Saher v. Norton Simon Museum of Art -- 7 Cassirer v. Kingdom of Spain and Thyssen-Bornemisza Collection Foundation -- 8 Grosz v. Museum of Modern Art -- 9 Bakalar v. Vavra -- 10 Museum of Fine Arts, Boston v. Seger-Thomschitz -- 1…
Introduction -- Part I. Affect, Performance and the Neoliberal State -- Chapter 1. The Affective Performance of State Love; Sue-Ellen Case -- Chapter 2. ‘Not Now, Not Ever’; Denise Varney -- Chapter 3. Performing Sovereignty against Jurisprudential Death in an Australian State of Exception; Sandra D’urso -- Chapter 4. Imagining Love in a Neoliberal Japan; Nobuko Anan -- Chapter 5. Nisti S…
Why Arnheim? Why Gestalt? -- Arnheim and Different Approaches to the Psychology of Art -- Expression, Symbolism and Visual Thinking -- The Senses, Perceptual Objects and Their Dynamics -- The Notorious Gestalt Brain Model -- The Dynamics of Pictorial, Sculptural and Architectural Form -- The Dynamics of Pantomimic Form -- The Dynamics of Musical Form -- The Dynamics of Poetic Form -- Art in Com…
And We Lived Where Dusk Had Meaning -- Parading -- At Work -- Romance -- Night & Day -- Portraits -- Motion & Machines -- Geometries -- Catch & Kill -- Harvest -- Uncanny -- Main Street -- Amusements -- Disasters -- Home Sweet Home -- Interview with Harvey Tulcensky.It may be hard to believe, but there actually was a time when the postcard image was not a cliché. To reach it, you'll have to se…
The Pleasures of Bewilderment -- Vermeer’s Annunciation -- The Man with the Red Crayon -- Ghosts at the Table -- Narratives in the Body: Goya’s Los Caprichos -- More Goya: “There Are No Rules in Painting” -- Giorgio Morandi: Not Just Bottles -- Joan Mitchell: Remembering in Color -- Gerhard Richter: Why Paint?.In Mysteries of the Rectangle, Hustvedt concentrates her narrative gifts on t…
Acknowledgements and Biographies -- Introduction -- Section I: Essays on Curriculum, Pedagogy and Practice -- Prelude I Chapter 1: Curriculum and the Morality of Aesthetics (1985) -- Chapter 2: Reflections on Teacher Education in Dance (1991) -- Chapter 3: Seeking a Feminist Pedagogy for Children’ s Dance (1998) -- Chapter 4: Choreographing a Life: Reflections on Curriculum Design, Consciousn…
Essays -- By his own hand. The valuation of autograph paintings in the 17th century -- Rembrandt’s clothes — Dress and meaning in his self-portraits -- Rembrandt’s self-portraits: problems of authenticity and function -- Grounds in Rembrandt’s workshop and in paintings by his contemporaries -- Biographical information 1643–1669 -- Catalogue -- Self-portrait in a flat cap -- Self-portr…
1: Creative Plan and Decision Choice of Semantic Differential Approach for Chair Design Aesthetic -- 2: The Conceptual Framework of Hydroxyapatite Fibre Structure by Slip Casting Techniques -- 3: Ceramic Art: An Introductory of MYP Curriculum Design for International Baccalaureate Visual Art -- 4: Recognisability of Pictographs on Electrical Consumer Products -- 5: A Practical Design of Kiln Bu…
Introduction by Linda Ashley and David Lines -- Part I Music and Dance in Education Through Oceanic Traditions -- Mau Kōrari – Traditional Māori Martial Art Training Incorporating American and European Dance Forms by Tanemahuta Gray with Jenny Stevenson -- Learning Music and Dance in Micronesia by Brian Diettrich -- Sāsā: More Than Just a Dance by Robyn Trinick and Luama Sauni -- Pride an…