Daniel Goleman - Foreign Audio
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View Rights PortalHorizontal together tells the story of 1960s art and queer culture in New York through the overlapping circles of Andy Warhol, underground filmmaker Jack Smith and experimental dance star Fred Herko. Taking a pioneering approach to this intersecting cultural milieu, the book uses a unique methodology that draws on queer theory, dance studies and the analysis of movement, deportment and gesture to look anew at familiar artists and artworks, but also to bring to light queer artistic figures' key cultural contributions to the 1960s New York art world. Illustrated with rarely published images and written in clear and fluid prose, Horizontal together will appeal to specialists and general readers interested in the study of modern and contemporary art, dance and queer history.
From Manchester's backstreets to global dancefloors - the untold story of a musical pioneer. Beginning on the night in November 1963 when his mum took him to see the Beatles live at Manchester's ABC Cinema, Mike Pickering takes the reader through sixty years of clubs, clothes, gigs, record labels, football matches and politics. Pickering has lived through decades of rapid change in popular music. As an influential DJ he introduced house music into the legendary Haçienda. He signed Happy Mondays and James to Factory Records before working with Kasabian, Gossip and Calvin Harris at Sony. His Mercury Prize-winning, multi-million-selling group M People transformed the music industry's attitude to dance music. As he tells his remarkable story he introduces an array of friends and collaborators, many of whom would become important - and sometimes notorious - figures in music history. Manchester must dance is a revelatory insider's account that moves from the cramped back streets of 1950s north Manchester on a journey deep into music, the city and the wider world. It features forewords from some of those Pickering inspired: Martin Fry, Johnny Marr, Noel Gallagher and Calvin Harris.
This book offers insights into some of the digital innovations, structural adaptations and analogue solutions that enabled live performance in the UK to survive through the COVID-19 pandemic. It provides evidence of values-led policies and practices that have improved the wellbeing of the creative workforce and have increased access to live performance. Through sections that address digital innovations, workforce resilience and programming live performances outdoors and in community settings, this book provides practical insights into the challenges live performance faced during the pandemic. It shows how, in order to survive, individuals and companies within the sector drew on the creativity and resourcefulness of its workforce, and on new and existing networks. In these accounts, the pandemic functioned as catalyst for technological innovations, stock-taking regarding exploitative industry structures, and a re-valuing of the role of live performance for community-building.
Art, medicine and health have many points of contact and a long tradition. Even in Greek mythology, Apollo was the god of the arts. Artistic approaches to therapy (including visual and performing arts, music, dance and literature) have been used for many centuries and are still offered in some medical institutions today. Despite this long practical experience, there is little scientific evidence of its effectiveness. Basic research provides an important basis for art therapy with interesting new approaches for investigating possible mechanisms of action. In addition, the overall social signifi- cance of art for health is an important topic, especially with regard to preventive effects for the population. The book provides a comprehensive overview of how art can be used as a health-promoting resource and highlights various research approaches. In addition, a brief review of the historical development of art in medicine is given. For the first time, the influence of music, painting, dance, literature and architecture on people’s state of health and the healing effect they can have is shown. Target group: Art therapists, artists, psychotherapists, child and adolescent psychologists, psychoanalysts and psychologists, health professionals, music and dance therapists, art and music educators, community musicians
Dancing in the English style explores the development, experience, and cultural representation of popular dance in Britain from the end of the First World War to the early 1950s. It describes the rise of modern ballroom dancing as Britain's predominant popular style, as well as the opening of hundreds of affordable dancing schools and purpose-built dance halls. It focuses in particular on the relationship between the dance profession and dance hall industry and the consumers who formed the dancing public. Together these groups negotiated the creation of a 'national' dancing style, which constructed, circulated, and commodified ideas about national identity. At the same time, the book emphasizes the global, exploring the impact of international cultural products on national identity construction, the complexities of Americanisation, and Britain's place in a transnational system of production and consumption that forged the dances of the Jazz Age.
Where do bees get the wax for their honeycombs from? What does the bee dance mean? Why are bees important for us humans? General knowledge for primary school children! Who will be quiz king? The life of the little honeybee and its environment is full of surprises. Do you know your way around the native animal world? Discover their secrets, research how animals live and what distinguishes them. One quiz question – three possible answers. Plus all sorts of fascinating facts on the reverse page. For one or more players aged 6+.
A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
In the decades following the USSR's collapse, the US has gone from unrivalled hegemon to a position of relative decline. With America 'triumphant' after 1991, its culture, like its diplomatic, military and economic power, remained unmatched. Such favourable circumstances seemed to undercut the need for cultural diplomacy. Why should the US government sell a product that was already selling so well? After 9/11, however, it was apparent the US image was less popular than previously assumed. To reverse this negative image, cultural diplomacy was revived. Despite being beset by internal and external challenges, US officials supported various cultural initiatives and partnerships to promote the American brand globally. Along the way, cultural diplomacy has made use of new forms of expression to promote American culture and build positive foreign relations. The arrival of the second Trump administration in 2025 has clearly signalled an end to using cultural diplomacy to further causes of empowerment and diversity, making the future uncertain for this field of activity.
Borderline bodies offers original interpretations of visual representations of human bodies as bounded and unbounded, fortified and permeable, mobile and static-subject to borders and able to traverse and challenge them. It also takes as its focus images and objects that might be considered 'borderline' because they sit at the intersection of disciplines or sit outside accepted notions of what constitutes serious 'art.' By mapping the ways human bodies traverse borders and straddle-even dismantle-categories, this volume's essays approach afresh the relationship of bodies to traditional modes of representation, especially in art and medicine, and encourage us to think anew about how we understand the relationship between human corporeality, identity and place. Critical transdisciplinary and transnational analyses of objects and images from a range of geographies shed new light on the themes of: bodies and identity; typologies of the body; racialised bodies; 'normal' and 'abnormal' bodies; encounters between bodies; bodies in transition; bodies and mobility; and the bounded and unbounded human body. The outcome is a fresh approach to depictions of the human body produced for the purposes of artistic and medical education, aesthetic edification, and scientific and professional advancement, which disrupts assumptions about the normative human body perpetuated through Western image-making traditions.
Aus dem Englischen von Paula Telge
In the late eighteenth-century, elite British women had an unprecedented opportunity to travel. Taking travel home uncovers the souvenir culture these women developed around the texts and objects they brought back with them to realise their ambitions in the arenas of connoisseurship, friendship and science. Key characters include forty-three-year-old Hester Piozzi (Thrale), who honeymooned in Italy; thirty-one-year-old Anna Miller, who accompanied her husband on a Grand Tour; Dorothy Richardson, who undertook various tours of England from the ages of twelve to fifty-two; and the sisters Katherine and Martha Wilmot, who travelled to Russia in their late twenties. The supreme tourist of the book, the political salon hostess Lady Elizabeth Holland, travelled to many countries with her husband, including Paris, where she met Napoleon, and Spain during the Peninsular War. Using a methodology informed by literary and design theory, art history, material culture studies and tourism studies, the book examines a wide range of objects, from painted fans "of the ruins of Rome for a sequin apiece" and the Pope's "bless'd beads", to lava from Vesuvius and pieces of Stonehenge. It argues that the rise of the souvenir is representative of female agency, as women used their souvenirs to form spaces in which they could create and control their own travel narratives.