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In The Rise and Fall of American Art, 1940s-1980s, Catherine Dossin challenges the now-mythic perception of New York as the undisputed center of the art world between the end of World War II and the fall of the Berlin Wall, a position of power that brought the city prestige, money, and historical recognition. Dossin reconstructs the concrete factors that led to the shift of international attention from Paris to New York in the 1950s, and documents how a "peripheriesa (TM) such as Italy, Belgium, and West Germany exerted a decisive influence on this displacement of power. As the U.S. economy sank into recession in the 1970s, however, American artists and dealers became increasingly dependent on the support of Western Europeans, and cities like Cologne and Turin emerged as major commercial and artistic hubs - a development that enabled European artists to return to the forefront of the international art scene in the 1980s. Dossin analyses in detail these changing distributions of geopolitical and symbolic power in the Western art worlds - a story that spans two continents, forty years, and hundreds of actors. Her transnational and interdisciplinary study provides an original and welcome supplement to more traditional formal and national readings of the period.
Is human creativity a wall that AI can never scale? Many people are happy to admit that experts in many domains can be matched by either knowledge-based or sub-symbolic systems, but even some AI researchers harbor the hope that when it comes to feats of sheer brilliance, mind over machine is an unalterable fact. In this book, the authors push AI toward a time when machines can autonomously write not just humdrum stories of the sort seen for years in AI, but first-rate fiction thought to be the province of human genius. It reports on five years of effort devoted to building a story generator--the BRUTUS.1 system.
The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years.
Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change.
Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality
In this book a detailed and systematic treatment of asymptotic methods in the theory of plates and shells is presented. The main features of the book are the basic principles of asymptotics and their applications, traditional approaches such as regular and singular perturbations, as well as new approaches such as the composite equations approach. The book introduces the reader to the field of asymptotic simplification of the problems of the theory of plates and shells and will be useful as a handbook of methods of asymptotic integration. Providing a state-of-the-art review of asymptotic applications, this book will be useful as an introduction to the field for novices as well as a reference book for specialists.
In the early 1990s, South Africa experienced a remarkable transition to democracy. Nelson Mandela was freed from prison, his previously outlawed ANC was legalized, and all-race elections were held in 1994. What motivated South Africa's former white leaders to hand over the reins of power to a black government? And what are the prospects for economic and political freedom in post-apartheid South Africa?
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