Book Description
Designed for philosophers as well as readers with no particular philosophical background, the essays in this lively book are grouped into four amusing acts. Act One looks at the four Seinfeld characters through a philosophical lens and includes Jerry and Socrates: The Examined Life? Act Two examines historical philosophers from a Seinfeldian standpoint and offers Plato or Nietzsche? Time, Essence, and Eternal Recurrence in Seinfeld. Act Three, Untimely Meditations by the Water Cooler, explores philosophical issues raised by the show, such as, Is it rational for George to do the opposite? And Act Four, Is There Anything Wrong with That?, discusses ethical problems of everyday life using Seinfeld as a basis. Seinfeld and Philosophy also provides a guide to Seinfeld episodes and a chronological list of the philosophers cited in this book.
Customer Reviews:
Great Read.......2007-07-06
My philosphy proffessor gave us a list of books to choose from so that we could write a paper on it. This was on the list and since I have always been a huge Seinfeld fan I bought it. I thoroghly enjoyed the book. It made me think about the characters more than I ever did watching the show, and it even made me laugh a little once or twice. I highly recommend this book!
best of these type books.......2006-04-30
but this is not saying mcuh because the rest are very bad. What each of these books needs are realy thoughtful thinkers who know philosophy, who i n this case know Seinfeld, and who have sense of humor to go with insights. Writers are dull, take themselves too seriously even when they have something okay to say.
Not Even Close.......2006-02-05
If you don't know much about Seinfeld or philosophy you might enjoy this book, but if you're a Seinfeld nut then avoid it at all costs. The show is incorrectly quoted several times and "facts" are also made up at times. The summarization of Socrates' allegory of the cave on page nine misstates some pretty major details. I suffered through the book until page 47 when the writer talks about how Kramer and Mickey embrace communism in the episode "The Race." Anyone who has seen that show even once knows that Mickey is trying to talk Kramer out of communism throughout the show. And even though Kramer definitely shows interest in communism it is quite a stretch to say is becomes an "ardent" communist. Rather than being an enjoyable read this book frustrated me enough that i quit on page 51. In all fairness the rest of the book may be excellent, but i'll probably never know.
SEINFELD'S COMEDIC INSPIRATION.......2006-01-24
Yes, Seinfeld is always funny. Here's what he said about his comedic inspiration: "[Lois Nettleton] was married to Jean Shepherd. He's the guy who invented talk radio and really formed my entire comedic sensibility. Yes. I learned how to do comedy from Jean Shepherd." He said this in his commentary for "The Gymnast" episode on the sitcom's DVD set, sixth season. Who is Jean Shepherd? See the book EXCELSIOR, YOU FATHEAD! THE ART AND ENIGMA OF JEAN SHEPHERD.
One of the worse books ever.......2005-10-21
Amazingly bad book. As someone who loves Seinfeld and Philosophy, I found this book insulting for both, and espacially for the readers. I tried reading parts of it, and simply couldn't bring myself to finish any chapter. Just a bunch of jiberish from people who apperently don't like, know, or "get" Seinfeld very much.
The straw that got me to finally give up (and write this review) is when I read that Seinfeld was not the first to write a comedy about nothing, and that "Much ado about nothing" is also such a comedy. What, the writer just googled "about nothing" to find something which has a similar title ??? Discusting.
Book Description
It's hard for graphic designers to stay inspired when they're constantly working on deadline. Inspirability gives them a fresh look at how to keep those creative fires burning in the real world, with:
-Interviews with 40 design luminaries, including Stefan Sagmeister, Paula Scher, Milton Glaser and Margo Chase -Fascinating pictures the designers took of themselves and their offices, as well as samples of their design work -Revealing insights into what inspires each designer on a day-to-day basis
This book offers an original take on one of the most requested topics by graphic designers. It's a must-have tool for lasting inspiration!
Customer Reviews:
Beautiful & Creative.......2005-10-10
This book is very beautifully designed and put together. Wonderfully eclectic. A good reminder about how we fo and can get inspired by the smallest things. Also very funny. Read one story everyday to remind yourself that you really are a creative.
Inspired!.......2005-08-12
This is a fun read, like you are listing to the conversations between the author and the 40 top graphics designers. Besides their works, this book also let you know more about these designers in an approachable way. Different disigners get their inspiration in different ways. I am definity inspired by their conversation through this book.
Entertaining Motivation.......2005-08-02
I love the the featured designers' snapshots of themselves and their work space. The interviews are really well done, and I especially love the questionnaires with the designers' own scibbled notes and illustrations. It's really, really entertaining! You not only get to truly know them, but this book shows how unique these successful designers are and how they are deeply motivated-that in itself is inspiring. Every creative person should have this book. It's great fun and reference.
Fresh, Fuzzy & Fun!.......2005-07-20
I saw the author-Pash, speak at the How Design Conference in Chicago (June 2005). His presentation was about how he got the idea for this book. It was very cool and inspiring. I couldn't wait to get a copy and start reading it. This book is filled with 40 top graphic designers perspectives on what inspires them. Photographs of the designers and their work stations. As well as a survey page that they all filled out (and one for you to fill out too). It is the kind of book that is so much fun to read. You feel like you are right there in the moment. This book draws you in, includes you and most of all inspires you. This is a great book for a graphic designer to own.
Truly Inspiring.......2005-06-20
After buying this book (and being lucky enough to have it signed by the author!) I just couldn't wait to flip through it's pages and find out what inspires my heroes in the world of graphic design. I love the format the author has chosen for the interviews and being able to get a sneak peak into the designers' studios and see what inspires them. This book will remain a timeless addition to my bookshelf and I know I'll refer to it when I get stuck or need a bit of inspiration myself. The questionnaire is awesome, and I love how different they all are. It's a wonderful book and one that belongs in every designer's library.
Book Description
Arguing about Art, 2nd Edition is an expanded and revised new edition of this highly acclaimed anthology. This lively collection presents twenty-seven readings in a clear and accessible format discussing the major themes and arguments in aesthetics. Alex Neill and Aaron Ridley's introductions provide a balanced account of each topic and highlight the important questions that are raised in the readings. The new sections of the book are: The Art of Food; Rock Music and Culture; Enjoying Horror; Art and Morality; and Public Art. In addition, many of the introductions have been updated and each section includes suggestions for further reading.
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- About Looking
- Interesting Perspective
- You gotta read this !
- Please read this book.
- How little we appreciate visually
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About Looking
John Berger
Manufacturer: Vintage
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Ways of Seeing: Based on the BBC Television Series
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Sense of Sight
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Another Way of Telling
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On Photography
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Selected Essays of John Berger
ASIN: 0679736557
Release Date: 1992-01-08 |
Book Description
As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.
Customer Reviews:
About Looking.......2005-10-17
The book was in great condition and came very prompty. I know nothing about art history, so this book is way over my head.
Interesting Perspective.......2005-04-02
This is a romantic view of art with leftist references. It is about the way we perceive things visually, in various contexts. He uses photographs and painted works primarily but ends the book by describing how we might view a field. Different sociological and psychological factors will temper what we interpret what we are seeing.
Berger writes in a style that I enjoy, descriptive and without concern for the grammatical structure that the nuns taught me in elementary school. That is not to say it is poorly written, Berger does take some license with proper English. Still the florid prose is very entertaining to me.
I agree with the political concerns that the author has but I do have a problem with his presentation. In particular he discusses the uses of visual images for propaganda and how art was manipulated by Nazi Germany. This is true but then he describes how art can be used to promote socially progressive ideology. In my own opinion propaganda is propaganda whether it is from the left or the right of the political spectrum.
A second issue I take with this author is that he takes some pretty fanciful leaps in his determination of what some artistic ploy means. He described a series of sculptures that would be placed next to a wall. One side of the sculptures was flat. He determined that this was not due to their inevitable placement but to some other factor.
My last issue has to do with presentation. Berger makes a lot of assumptions that are personal. They are undoubtedly a result of a lot of thinking, reading and discussing art. I do not necessarily think they are wrong. He does however, assume that he is correct. Several times this occurred when I was unable to see from his perspective at all. I think that suggestions and fanciful leaps can be appropriate in an art criticism reading. I suggest that the points would reach home more readily if they were phrased ala "...perhaps we could suggest..., or ...maybe one way of interpreting the form is..." Berger instead uses polemic type phrasing such as "undoubtedly this is a result of..."
For an interesting perspective, some historical information and thought provoking suggestions this is a very good read.
You gotta read this !.......2004-04-24
This is indispensable reading. No joke.
Please read this book........2002-08-20
Please please read this book. You will not regret it. Every essay is an eye opener and get you to really rethink your world-view.
How little we appreciate visually.......2001-03-16
Most of what our eyes take in is filtered, as we cannot process all that is within the field of our vision. Were there no limits, sleep would be required for the vast majority of each 24-hour period. Our brain provides filters that allow selective acknowledgement or perhaps isolated concentration on those visual cues that we deem important.
Mr. John Berger's book, "About Looking", will radically change your perception of what you see.
Much of the book is dedicated to explaining how various artists' works should be visually understood, what a casual viewer would observe as opposed to someone who is trained in art. I have generally found the long-winded, affected, and pretentious descriptions of art by "Art Experts" to be ridiculous at best and coma inducing more the norm. As Mr. Berger takes you through various artists and how he "sees" their work the language can still seem a bit affected, but as you read, this man uses the words he needs. To suggest he is affecting his explanations would be a petty way to express one's ignorance. Read what he says, and you will see things, as you have not before.
I enjoyed the entire book, however the essays, "Why Look At Animals, and, Uses of Photography", were of greatest interest. They went beyond the explanation of expanding the methods of how the visual can be expanded and included History, Anthropology, and Sociology as well. Many people find zoos artificial, perverse, or even fraudulent. When you read this man's explanation of Animals, our relationships to them over time and how we see them, and they us, regardless of what you now feel you will feel differently.
The same is true in his essay on photography. The science is relatively new, the use and invasion of the camera has become something so common the practice of using a camera is barely noticed. There are the occasional eruptions over privacy, surveillance, and "Big Brother", but those that suggest we are not already a society who have given up much of their privacy, are deluding themselves. Mr. Berger does not just opine on the subject. Court cases, the use of the camera in all its incarnations is explored more deeply than a casual look would suggest there is material to talk about.
This is not a book by a shallow charlatan picking off a couple of quick tricks that make you say hmmmmmmm. He does show that even when the filtered information arrives we see very little of what reaches us; we rarely gain the benefit of all the information. He demonstrates how a bit of inquisitiveness can make what seems ordinary spectacularly special.
Book Description
Ecstasy acts as an intersection in which structures of human consciousness meet a range of contemporary art practices. Each work in Ecstasy, which accompanies an exhibition at The Museum of Contemporary Art, Los Angeles, enacts its own particular intervention into human consciousness -- surprising us, questioning familiar realities, and suggesting alternative ways of ordering experience -- through installation, painting, sculpture, and new media.
Ecstasy traces two lines of contemporary inquiry into surrealism's fixation with altered states of consciousness. One follows the tradition of artists attempting to capture metaphysical conditions in representational form -- as seen in the wall-scale, resin-suspended pill paintings of Fred Tomaselli; Charles Ray's photographic self portrait, Yes, which depicts the artist on LSD; and Franz Ackermann's recent Mental Maps, abstract paintings that represent cities using his own subjective form of GPS. The other trajectory explores the notion of phenomenological experience through works that play on disjunctions in scale, or disrupt our means for spatial orientation. In Carsten Holler's Upside Down Mushroom Room, for example, the ceiling and floor appear to change places, while in Jeppe Hein's Moving Walls, museum walls begin to close in on the viewer. The 2,200 hand-painted polymer psilocybin mushrooms of Roxy Paine's Psilocybe Cubensis Field, meanwhile, suggests other possibilities for altering our sense of reality.
These and the other bold and imaginative works in Ecstasy challenge conventional notions of interactivity while creating a heightened sensory experience for the viewer. Six essays accompany the artworks, considering such topics as the relationship of altered states to art-making, both as the manifestation of the artist's state of mind and as an experiential effect created for the viewer; drugs and the process of self-observation in literary works; and the "dark side" of altered consciousness.
Distributed for the Museum of Contemporary Art, Los Angeles.
Customer Reviews:
Discovering How Far Art Can Take Us.......2005-11-24
Walking into the cavernous spaces of the Geffen Contemporary at MOCA in Los Angeles where the current exhibition ECSTASY: IN AND ABOUT ALTERED STATES is a mind molding experience. This very fine catalogue compiled by Paul Schimmel, the Chief Curator, and Lisa Mark is exceedingly well done. Though the exhibition lends itself more to the experience of interacting with the art, this book/catalogue manages to take us there as successfully as any publication could.
The curatorial concept addresses the results of sensory interaction with both representational and experimental art forms. The effects of mind-altering drugs informs many of the installations, as does hypnosis of the artist prior to executing art, and the clever manipulation of visual perceptions. Reading this intelligent book is a bit of Alice in Wonderland, a bit of staring at those dot pictures whose incongruous doodlings become a startling picture while the eye stares at a point, and a bit of the 1960s psychedelic art at which we chuckle now. And ah, the walk under ceiling-suspended upside down mushrooms - one of the many fantasy excursions 'contained' at the Geffen.
In less practiced hands a topic of this sort that depends so heavily on sensory perception would not be translated into book form. But Schimmel and Mark make it work as well as any other part of the content! This is an important topic, an important exhibition, and an important document. Recommended. Grady Harp, November 05
Book Description
David Sylvester here muses on key artists of the twentieth century and their nineteenth-century forebears. In the process, he offers profound insights into their practice of art. Focusing on the spectator's instinctive emotional and physical response to paintings by such artists as Picasso, Matisse, de Kooning, Newman, and Warhol, Sylvester brings an inspiring sense of the relevance and importance of art to life. Added to this updated edition are essays on Pollock, Twombly, and Serra, among others.
Customer Reviews:
Art criticism as an art form........2007-09-25
This is a beautifully written book that I would recommend to any art lover. It is a collection of texts published in various media (radio, TV, magazines, exhibition catalogues)and covering most of the great masters of the 20th century. Sylvester only writes about the artists he likes and does it in an elegant and profound way.
If you have ever felt puzzled standing face to face with a "Woman" painted by De Kooning, if you have never been moved by a Rothko abstraction, if you do not understand why some people think that Picasso changed the way we see our world, if you think that your 3-year-old son can paint a Twombly, read this book; it will open your eyes on one of the great pleasures of life: the understanding of high art.
Book Description
Imagine Roger Corman and John Waters crossed with Howard Stern--and you'll have an idea of the demented genius behind Troma studios, one of the oldest (and most successful) independent film studios in the world. Lloyd Kaufman's spirited, outrageous, no-holds-barred look at low-budget, guerilla filmmaking is truly an inspiration to young filmmakers, a delight for movie buffs, and an absolute must for Toxic Avenger fans everywhere. This is the true story of the moviemaking maverick who co-founded an independent studio twenty-five years ago in a humble broom closet...who used raw hamburger, Karo syrup blood, and Bromo-Seltzer vomit to create films of questionable artistic and moral value...who is responsible for a string of cult movie hits...who was the first to reject Madonna for a part...who defied the Hollywood system and slapped the face of the industry...and who built a B-movie empire filled with Chopper Chicks, Surf Nazis, Kabuki Cops, Nymphoid Barbarians, and a lone hero known as The Toxic Avenger.
Customer Reviews:
HOLY CAPTAIN OBIVIOUS.......2007-09-16
I BOUGHT THIS FROM LLOYD HIMSELF AT CRYPTICON AND I WENT HOME AND SAT ON THE CAN AND THATS WHERE I STAYED FOR THE NEXT SEVERAL HOURS AS I READ ONE OF THE GREATEST BOOKS I HAVE EVER READ IT WAS AWESOME TO FIND OUT THE DETAILS OF SUCH A AWESOME INDEPENDENT STUDIO I COULDN'T PUT IT DOWN EVEN IF I WANTED TO LLOYD ATTACHED SOME SORT OF ADHESIVE SO I REALLY WAS FORCED TO READ IT SO CHECK IT OUT ITS A AWESOME BOOK
Into the mind of a truly independent Film director........2007-08-29
If you've ever watched a Troma film then you know what to expect from this book. Blood/gore, sex, nudity, head-crushings and more. Only in book form. What starts out as a how-to quickly breaks out into a great history of Troma films.
Lloyd Kaufman tells it like it is (in his mind that is.) But also comes across as genuinely passionate about what he does.
The only thing I can say is that if you've ever watched a Troma film and enjoyed it (even a tiny bit) then get this book.
Don't forget Lloyd's other book "Make Your Own Damn Movie!" and the Toxic Avenger Paperback.
Money spent on Troma is money spent on the things that make movies fun!
The independent spirit.......2007-08-11
I'm not so much a fan of Troma's movies as I am a fan of Kaufman and Troma Studios themselves. Interesting book filled with Lloyd's humor.
All I Need to Know about Troma I Learned from the Toxic Avenger.......2007-08-06
This book is a must have for all fans of the greatest independant film company of all time. This book takes you behind the scenes of Troma's back story and tells you everything you ever (never) wanted to know about troma and it's founder, the very generous Lloyd Kaufman. An excellent read from start to finish. Long live Toxie.
All I Need to Know about Filmmaking I Learned from the Toxic Avenger: Autobiography of Lloyd Kaufman.......2007-07-29
Troma film studio in New York City has been around for nearly 35 years now. It's founder and president Lloyd Kaufman has been there since day one and has oversought Troma's rise from obscurity to one of the more successful B movie studios in the country. Troma is the studio behind such cult classics as The Toxic Avenger films, Sgt. Kabukiman NYPD, Tromeo and Juliet and the upcoming Poultrygeist. Through low-budget techniques, clever stories, over-the-top raunchiness and grotesque action Troma films have established themselves as the ultimate in renegade cinema.
Lloyd Kaufman's book "All I Need to Know about Filmmaking I Learned from the Toxic Avenger" details his rise into filmmaking, the creation of Troma studios, the development of the Toxic Avenger film which put Troma on the map and general wit and whimsy about filmmaking in general. Kaufman's writing style is admittedly all over the place but it fits well with his offbeat style and humor as well as his approach to filmmaking. This book details such things as the origin of the Troma name, the process of making a low budget movie, and some wonderful details about how Troma pulls off gory effects. There's a wonderful chapter in which Kaufman details how they pulled off a scene from The Toxic Avenger in which a head is smashed by a car.
"All I Need to Know" is a great read not only for Troma fans but aspiring filmmakers as well. It details how somebody with outlandish ideas, little-to-no finance and not much experience rose to a fairly prominent career in film. Kaufman's story is hilarious, witty, at times grotesque but ultimately fairly inspiring. Highly recommended for both Troma fans and aspiring filmmakers. Kaufman's new book "Make Your Own Damn Movie" has also recently been published and is available through Amazon.
Book Description
A distinguished group of art historians reflect on the work of Michael Baxandall, in terms of its importance for their own formation, its location in the development of a new art history, and its influence on the broader languages and theories of contemporary cultural theory. The volume deploys the meaning of the word 'about' both as an adverb and a preposition to weave a tissue of readings through and around the writing of Baxandall in such a way as both to characterize its importance in recent thinking on art and cultural history and to displace it from a conventional understanding.Working critically, analytically and through analogy the essays not only rethink Baxandall through a cultural theory in which he takes an unexpected position alongside Aby Warburg and Walter Benjamin, but position his ideas in the conceptual fields of a Marcel Duchamp or a Donald Judd. Alternatively they historicize his thinking in a context of modern ethnographic, sociological and feminist methodologies, or one of important considerations on such concepts as material culture or artistic production as figures in the writing of art history.
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Peter Blake About Collage
Et Al Biggs
Manufacturer: Tate
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Peter Blake
ASIN: 1854373234 |
Book Description
The technique of collage has been incredibly influential in 20th-century art. This publication examines the ways in which the potential of collage has been exploited by a broad range of artists, and looks in particular at the work of Peter Blake. One of Britain's most popular artists, Blake is also an avid collector, and has curated the show at Tate Liverpool that this publication celebrates. He has sifted carefully both through the works at the Tate and through his own fascinating collection to reveal the dispersal of collage in very surprising directions.
Peter Blake: About Collage opens with an interview in which the artist discusses his own use of the technique, his influences, and his many collaborations with musicians, writers and performers. An essay by Dawn Ades explores the history and significance of collage from the early 20th century through to the present day, and investigates the impact of collage in the work of artists ranging from Kurt Schwitters to Joseph Cornell and Tracey Emin.
Book Description
"On or about December 1910" human character changed, Virginia Woolf remarked, and well she might have. The company she kept, the Bloomsbury circle, took shape before the coming of World War I, and would have a lasting impact on English society and culture after the war. This book captures the dazzling world of Bloomsbury at the end of an era, and on the eve of modernism.
Peter Stansky depicts the vanguard of a rising generation seizing its moment. He shows us Woolf in that fateful year, in the midst of an emotional breakdown, reaching a turning point with her first novel, The Voyage Out, and E. M. Forster, already a success, offering Howards End and acknowledging his passion for another man. Here are Roger Fry, prominent art critic and connoisseur, remaking tradition with the epochal exhibition "Manet and the Post-Impressionists"; Vanessa Bell and Duncan Grant beginning their most interesting phase as artists; Lytton Strachey signing the contract for his first book; and John Maynard Keynes entering a significant new stage in his illustrious career.
Amid the glittering opulence and dismal poverty, the swirl of Suffragists, anarchists, agitators, and organizers, Stansky--drawing upon his historical and literary skills--brings the intimate world of the Bloomsbury group to life. Their lives, relationships, writings, and ideas entwine, casting one member after another in sharp relief. Even their Dreadnought Hoax, a trick played on the sacred institution of the navy, reveals their boldness and esprit. The picture Stansky presents, with all its drama and detail, encompasses the conflicts and sureties of a changing world of politics, aesthetics, and character.
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