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"The book presents a different history of the Russian avant-garde and its cultural encounters with the sciences. It is focusing on the entanglements of architects, filmmakers and philosophers with experimental psychologists and physiologists in the 1920s which are hardly known yet. Famous avant-garde artists like El Lissitzky, Vassily Kandinsky and Dziga Vertov helped propagate a movement in Russia - psychotechnics -, that was actually coming from Germany and America and can be characterized as "psychotechnical boom". At the end of the story told in this book, it becomes clear, that this boom has not finished until today. By analyzing concrete co-operations between artists and scientists and on the basis of not yet published archival material, this book challenges the notion of
socialist sciences. At the same time, it gives an entirely new picture of what was thought to be modern art and makes clear, that artistic experimentation had much more than a metaphorical meaning in the arts of the Russian 1920s. In 2007 the book was acknowledged with an award for interdisciplinary research by the Wilhelm-Ostwald-Society, Grossbothen. In 2011 the book received funding by the VolkswagenStiftung to be translated into English and Russian (the Russian edition was published by NLO books in 2019). The book got reviews in NZZ, NTM, Derive, Junge Welt, Sehepunkte"-- Provided by publisher.

• Alberti's house-city
• Building blocks : from house to city
• Designing buildings as little cities
• Conclusions : house-city as ecosystem.

• Introduction: Walls, Blockades, and Barricades
• Acting Politically: Counter Revanchist Art in the Public Sphere
• River Crossing: Lin Yilin's Safely Maneuvering Across Lin He Road (1995)
• The View from the Cell: Santiago Sierra's Obstruction of a Freeway with a Truck's Trailer (1998) in the Long Sixties
• 24 Hour Placemaking: Heather Peak and Ivan Morisons' I lost her near Fantasy Island. Life will not be the same (2006) and Journée des Barricades (2008)
• Reflecting the Commons at the Border of Enclosure: The Mirrored Repertoires of Euromaidan, Greenham Common and #NODAPL
• Conclusion: Counter Revanchist Art and the Inauguration of Change.

• On Working as an Aboriginal Museum Director and Curator of the Berndt Museum / Catherine Speck in conversation with Vanessa Russ
• The Toa of the Dieri / Martin Edmond
• Wrecking Culture: Australian Iconoclash 2020 / Helen McDonald.

"Through a curated collection of key Jain Paintings, this volume offers a glimpse into the way people lived in western India, during the medieval times; what they wore, how they ornamented themselves, what they amused themselves with, what furniture they sat on, which modes of transport they used. It includes Jain paintings from various collections in India and abroad to underscore the value of pictorial evidence in piecing together the past. The book takes the reader on a breath-taking visual journey through the varied costumes, exquisite textiles, handcrafted ornaments, curiously shaped vessels and containers, musical instruments, arms and armours, conveyances, and many such articles of everyday use. These articles of everyday use are corroborated with the descriptions left by foreign travellers, passing through Western India at that time. It explores contemporary lexicons and vernacular literature from this period, for possible names in vogue for the articles of material culture. The work is richly illustrated with line drawings by the author to highlight the objects being referred to. What comes across clearly through this book is that art is the mirror of the times and as such, paintings reflect the society in which it is created. A magnificent read, this book will be essential for scholars and researchers of Indian Painting, Art history, Indian Art, Arts and Aesthetics, Jainism, visual arts, South Asian history, Indian history, heritage studies, and cultural history. It will also be a must have for history and visual arts enthusiasts all over the world"-- Provided by publisher.

• On the Unique Intertwining of Region, Nature, and Architecture in Norway / Marta Piórkowska (Lodz University of Technology)
• The implications of power on the status of women in society and its reciprocal relationship with the home space in Azerbaijan, Iran / Neda Abbasimaleki and Cagri Sanliturk (LU-Arc)
• How Wealth Kills Craft / Dana Buntrock (UC Berkeley)
• Designing for adaptability and sustainability in regional architecture: lessons from residences in North East Brazil / Mila Santos (Fluminense Federal University), José Evandro Henriques and Robert Schmidt III (LU-Arc), Fernando Moreira (Federal University of Pernambuco)
• Yuanlin Region and Piranesi Region, Yiming Liu (China)

"This book explores how the concept of 'region' has evolved over time and shaped architectural culture and practice. It questions what the 'region' and 'regional' mean for architectural cultures past and present, and speculates on what forms and in which senses they might exist in future. To that end, the contributions explore region as a real geographical site of evolving socio-economic activity, as a mythical locus of enduring value, as a gatekeeper of indigenous crafts and vernacular techniques, as a site of architectural and artistic imagination, and as a repository of contested, conflicted and mobile identities. The contributing chapters take these themes from the theoretical page to architectural and urban practice, and from the scale of the domestic hearth to the archipelago and international law, avoiding the more predictable, long-standing trope of viewing architectural regionalism purely as a matter of style. Curated into four key areas, the contributions come from scholars in the US, UK, Poland, Australia, Italy, Serbia, India, Spain, Africa, Austria, Brazil, Denmark, Iran, Bangladesh, China, Greece, Russia and Singapore. Together, they provide an essential volume for students, researchers and professionals"-- Provided by publisher.

• Introduction: Art for the Earth
• The Non-Objective World
• True Fictions and Dark Mediations
• Speculative Geology
• Conclusion: Out of the Spiral.

"Surveying the content and character of early Christian iconography from the third to the sixth century CE, this substantially revised and updated new edition of Understanding Early Christian Art makes the critical tools of art historians accessible to students. It opens by discussing a series of questions pertaining to the evidence itself and how scholars through the centuries have regarded this material as expressing and transmitting aspects of the developing faith and practice of early adherents of Christianity. It considers possible sources for the various motifs and the complex relationship between word and images, as well as the importance of studying visual and material culture alongside theological and liturgical texts. Rather than organising surviving examples by medium or chronology, the chapters categorize the evidence according to their general iconographic type, such as generic symbols, biblical narratives, and portraits. Each chapter takes up important questions of visual culture, formal style, and the ways in which the iconography is distinct from or shows parallels with contemporary documentary sources like sermons, exegetical works, catechetical lectures, or dogmatic treatises. Concluding with a discussion of the late-emerging depictions of Jesus's crucifixion, resurrection, and ascension, it remains a valuable guide to comprehending the complex theology, history, and context of Christian art. Augmented by over 140 full-colour images, accompanied by parallel text, the interdisciplinary and boundary-breaking approach taken in this extensively revised edition of Understanding Early Christian Art enables students and scholars in fields such as religion and art history to further their understanding and knowledge of the art of the early Christian era"-- Provided by publisher.

With the event of the stereoscope and the theatre, dioramas and panoramas before it, vision and perception in the eighteenth and nineteenth century is seen to be marketed to a mass audience. As such the spectacle of the stereoscope and other optical devices can be seen as a precursor to mass media dissemination today.0Yet artists use the stereoscope and VR to signify the spectacle, clairvoyance, vision and the mechanism of vision as well as a symbol for the act of looking, being looked at while looking and the gaze within an art new media practice.0Other artists have used 3-D and virtual reality to address themes such as theories of consciousness or embodied consciousness, the human ? machine relationship and the idea of mapping reality, alternative networked realities.0The book includes an introduction and summary of chapters, 86 anaglyphic 3-D images and presents a survey of artists working in 3-D and virtual reality, VR art. The convergence of other fields such as new media art, video art and early virtual reality art is described through many examples within the scope of the book.0Artists discussed include Mert Akbal, Zoe Beloff , Geoffrey Berliner, Lygia Clark, Dan Graham, Salvador Dali, Marcel Duchamp, Scott S. Fisher, Rebecca Hackemann, Perry Hoberman, Daniel Iglesia, Ken Jacobs, William Kentridge, Susan MacWilliam, Patrick Meagher, Rosa Menkman, Jim Naughten, Tony Ousler, Alfons Schilling, Joel Schlemowitz, Christopher Schneberger, Judith Sönniken, Ethan Turpin, Aga Ousseinov, Colleen Woolpert