The Principles of Uncertainty
by Maira Kalman
from Penguin Press HC, The
Amazon Best of the Month, Octhober 2007: In 2005 Maira Kalman brought a fresh vision to Strunk and White's The Elements of Style, filling the pages of the reference classic with her whimsical illustrations. And much like its multi-talented creator--who has illustrated children's books and New Yorker covers and collaborated on fashion projects with Kate Spade and Isaac Mizrahi--her new book, The Principles of Uncertainty, defies easy classification. Is it philosophy? Art? Memoir? Travel? Sociology? The answer is All of the Above (and more). This charming collection of text, paintings, and photography presents a "profusely illustrated" year in a life, with illustrated musings that range from a young Nabokov "sitting innocently and elegantly in a red chair" to two stuffed rabbits in the window at Paris's Deyrolles taxidermy to Kitty Carlisle Hart at home in her "pearly pink palace." Delightful, inspiring, and often very moving, this little charmer is a a book you might find nestled on Wes Anderson's coffee table. --Brad Thomas Parsons
Maira Kalman paints her highly personal worldview in an inimitable combination of image and text.
The Principles of Uncertainty is an irresistible invitation to experience life through the psyche of Maira Kalman, one of this country's most beloved artists. The result is a book that is part personal narrative, part documentary, part travelogue, part chapbook, and all Kalman. Her brilliant, whimsical paintings, ideas, and images-which initially appear random-ultimately form an intricately interconnected worldview, an idiosyncratic inner monologue. Kalman contends with some existential questions-What is identity? What is happiness? Why do we fight wars? And then, of course, death, love, and candy (not necessarily in that order).
The tremendous success of Kalman's 2005 illustrated edition of Strunk and White's The Elements of Style established her as an original, inspirational voice, and the quirky, hilarious, heartbreaking style of The Principles of Uncertainty reveals Maira Kalman for what she truly is: a national treasure.
The Architecture of Happiness (Vintage)
by Alain De Botton
from Vintage
The Achitecture of Happiness is a dazzling and generously illustrated journey through the philosophy and psychology of architecture and the indelible connection between our identities and our locations.
One of the great but often unmentioned causes of both happiness and misery is the quality of our environment: the kinds of walls, chairs, buildings, and streets that surround us. And yet a concern for architecture is too often described as frivolous, even self-indulgent. Alain de Botton starts from the idea that where we are heavily influences who we can be, and argues that it is architecture's task to stand as an eloquent reminder of our full potential.
History of Beauty
by Umberto Eco
from Rizzoli International Publications
Beauty is in the eye of the beholder, but it also has a lot to do with the beholder's cultural standards. In History of Beauty, renowned author Umberto Eco sets out to demonstrate how every historical era has had its own ideas about eye-appeal. Pages of charts that track archetypes of beauty through the ages ("nude Venus," "nude Adonis," and so forth) may suggest that this book is a historical survey of beautiful people portrayed in art. But History of Beauty is really about the history of philosophical and perceptual notions of perfection and how they have been applied to ideas and objects, as well as to the human body. This survey ranges over such themes as the mathematics of ideal proportions, the problem of representing ugliness, the fascination of the exotic and art for art's sake. Along the way, the text examines the intersection of standards of beauty with Christian belief, notions of the Sublime, the philosophies of Kant and Hegel, and bourgeois culture. More than 300 illustrations trace the history of Western art as it relates, in the broadest sense, to the topic of beauty.
Yet despite its wealth of information, History of Beauty is an odd and unsatisfying book. Beginning with ancient Greece and ending with a too-brief chapter on "The Beauty of the Media," the text focuses exclusively (and unapologetically) on the Western world. Ultimately, it seems that "beauty" serves simply as a sexy peg on which to hang an abbreviated history of Western culture. Readers expecting a sophisticated treatment of the subject will be surprised at the textbook-like design, with numbered sections and boldfaced words keyed to small-type excerpts from writings by thinkers ranging from Boethius to Barthes. The main narrative (or perhaps the translation from the Italian?) can be ponderous and awkward. Only nine of the 17 chapters were written by Eco; the remainder are by lesser-known Italian novelist Girolamo de Michele. All in all, it looks as though someone had the bright idea of translating a textbook for Italian students into English, hoping to coast on the fame of Eco's name. --Cathy CurtisProfessor Eco takes us from classical antiquity to the present day, dispelling many preconceptions along the way and concluding that the relevance of his research is urgent because we live in an age of great reverence for beauty, "an orgy of tolerance, the total syncretism and the absolute and unstoppable polytheism of Beauty."
In this, his first illustrated book, Professor Eco offers a layered approach that includes a running narrative, abundant examples of painting and sculpture, and excerpts from writers and philosophers of each age, plus comparative tables. A true road map to the idea of beauty for any reader who wishes to journey into this wonderful realm with Eco's nimble mind as guide.
On Ugliness
by Umberto Eco
from Rizzoli
In the mold of his acclaimed History of Beauty, renowned cultural critic Umberto Eco’s On Ugliness is an exploration of the monstrous and the repellant in visual culture and the arts. What is the voyeuristic impulse behind our attraction to the gruesome and the horrible? Where does the magnetic appeal of the sordid and the scandalous come from? Is ugliness also in the eye of the beholder? Eco’s encyclopedic knowledge and captivating storytelling skills combine in this ingenious study of the Ugly, revealing that what we often shield ourselves from and shun in everyday life is what we’re most attracted to subliminally. Topics range from Milton’s Satan to Goethe’s Mephistopheles; from witchcraft and medieval torture tactics to martyrs, hermits, and penitents; from lunar births and disemboweled corpses to mythic monsters and sideshow freaks; and from Decadentism and picturesque ugliness to the tacky, kitsch, and camp, and the aesthetics of excess and vice. With abundant examples of painting and sculpture ranging from ancient Greek amphorae to Bosch, Brueghel, and Goya among others, and with quotations from the most celebrated writers and philosophers of each age, this provocative discussion explores in-depth the concepts of evil, depravity, and darkness in art and literature.
Wabi-Sabi: for Artists, Designers, Poets & Philosophers
by Leonard Koren
from Stone Bridge Press
From the Introduction
Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete.
It is a beauty of things modest and humble.
It is a beauty of things unconventional.
The immediate catalyst for this book was a widely publicized tea event in Japan. The Japanese aesthetic of wabi-sabi has long been associated with the tea ceremony, and this event promised to be a profound wabi-sabi experience. Hiroshi Teshigahara, the hereditary iemoto (grand master) of the Sogetsu school of flower arranging, had commissioned three of Japan's most famous and fashionable architects to design and build their conceptions of ceremonial tea-drinking environments. Teshigahara in addition would provide a fourth design. After a three-plus-hour train and bus ride from my office in Tokyo, I arrived at the event site, the grounds of an old imperial summer residence. To my dismay I found a celebration of gorgeousness, grandeur, and elegant play, but hardly a trace of wabi-sabi. One slick tea hut, ostensibly made of paper, looked and smelled like a big white plastic umbrella. Adjacent was a structure made of glass, steel, and wood that had all the intimacy of a highrise office building. The one tea house that approached the wabi-sabi qualities I had anticipated, upon closer inspection, was fussed up with gratuitous post- modern appendages. It suddenly dawned on me that wabi-sabi, once the preeminent high-culture Japanese aesthetic and the acknowledged centerpiece of tea, was becoming-had become?-an endangered species.
Admittedly, the beauty of wabi-sabi is not to everyone's liking. But I believe it is in everyone's interest to prevent wabi-sabi from disappearing altogether. Diversity of the cultural ecology is a desirable state of affairs, especially in opposition to the accelerating trend toward the uniform digitalization of all sensory experience, wherein an electronic "reader" stands between experience and observation, and all manifestation is encoded identically.
In Japan, however, unlike Europe and to a lesser extent America, precious little material culture has been saved. So in Japan, saving a universe of beauty from extinction means, at this late date, not merely preserving particul
The Necessity of Theater: The Art of Watching and Being Watched
by Paul Woodruff
from Oxford University Press, USA
What is unique and essential about theater? What separates it from other arts? Do we need "theater" in some fundamental way? The art of theater, as Paul Woodruff says in this elegant and unique book, is as necessary--and as powerful--as language itself. Defining theater broadly, including sporting events and social rituals, he treats traditional theater as only one possibility in an art that--at its most powerful--can change lives and (as some peoples believe) bring a divine presence to earth.
The Necessity of Theater analyzes the unique power of theater by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched--making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space--audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theater cannot teach us transcendent truths, but it can teach us about ourselves.
Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theater as a unique form of expression connected to our most human instincts. The Necessity of Theater should appeal to anyone seriously interested or involved in theater or performance more broadly.
Emotional Design: Why We Love (or Hate) Everyday Things
by Donald A. Norman
from Basic Books
In Praise of Shadows
by Junichiro Tanizaki
from Leetes Island Books
Relational Aesthetics
by Nicolas Bourriaud
from Les Presse Du Reel,Franc
Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.
The Future of the Image
by Jacques Ranciere
from Verso
A leading philosopher presents a radical manifesto for the future of art and film.
In The Future of the Image, Jacques Ranci&232;re develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. Covering a range of art movements, and thinkers such as Foucault, Deleuze, Adorno, Barthes, Lyotard and Greenberg, Ranci&232;re argues that contemporary theorists of the image are suffering from religious tendencies. He suggests that there is a stark political choice in art: it can either reinforce a radical democracy, or create a new reactionary mysticism. For Ranci&232;re there is never a pure art: the aesthetic revolution will always embrace egalitarian ideals.
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