Fine Lines: Vladimir Nabokov’s Scientific Art 1st Edition
The first comprehensive, interdisciplinary accounting of Nabokov’s scientific work, its significance in his artistry, and his contribution to evolutionary theory This landmark book is the first full appraisal of Vladimir Nabokov’s long-neglected contributions as a scientist. Although his literary achievements are renowned, until recently his scientific discoveries were ignored or dismissed by many. Nabokov created well over 1,000 technical illustrations of the anatomical structures of butterflies, seeking to understand the evolutionary diversity of small butterflies called Blues. But only lately have scientists confirmed his meticulous research and vindicated his surprising hypotheses. This volume reproduces 154 of Nabokov’s drawings, few of which have ever been seen in public, and presents essays by ten leading scientists and Nabokov specialists. The contributors underscore the significance of Nabokov’s drawings as scientific documents, evaluate his visionary contributions to evolutionary biology and systematics, and offer insights into his unique artistic perception and creativity.
About the Author
Stephen H. Blackwell is professor of Russian, University of Tennessee. He is the author of The Quill and the Scalpel: Nabokov’s Art and the Worlds of Science. He lives in Knoxville, TN. Kurt Johnson is author or coauthor of more than 200 journal articles on Lepidoptera and coauthor of Nabokov’s Blues: The Scientific Odyssey of a Literary Genius. He lives in Brooklyn, NY.
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About the Author
Sachiko Umoto, born in 1970, graduated with a degree in oil painting from Tama Art University (Tokyo). In addition to her work as an illustrator, she also produces animation works for Usagi-Ou Inc. She is the author of An Introduction to Making Illustrations with One Pencil Workbook and An Introduction to Sketching with One Pencil Workbook (both published by MDN Corporation). She dearly loves dogs and Hawaii. Visit her online at http: //umotosachiko.com.
This milestone volume maps fifty years of artists’ engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established Sound Art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive 2012-2013 exhibition at ZKM | Center for Art and Media, Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book begins with an extensive overview by volume editor and ZKM CEO Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and Internet-based sound art. Experts then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, and Scandinavia. The texts are accompanied by hundreds of color images drawn from the ZKM exhibition. Essays byAlvaro Barbosa, Dmitry Bulatov, Germano Celant, Seth Cluett, Christoph Cox, Jim Drobnick, Brandon LaBelle, Tony Myatt, Achille Bonito Oliva, Linnea Semmerling, Morten Sondergaard, Alexandra Supper, Atau Tanaka, David Toop, Peter Weibel, Dajuin Yao, Siegfried Zielinsky
About the Author
Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media, Karlsruhe, and Professor at the University of Applied Arts Vienna. He has edited other ZKM volumes published by the MIT Press, including, most recently, The Global Contemporary and the Rise of New Art Worlds.
About the Author
Sarah Lazarovic is a writer, illustrator, and artist based in Toronto. She is the founding editor of the popular website torontoist.com.
Modernity has had so many meanings and tries to combine so many contradictory sets of attitudes and values that it has become impossible to use it to define the future. It has ended up crashing like an overloaded computer. Hence the idea is that modernity might need a sort of reset. Not a clean break, not a “tabula rasa,” not another iconoclastic gesture, but rather a restart of the complicated programs that have been accumulated, over the course of history, in what is often called the “modernist project.” This operation has become all the more urgent now that the ecological mutation is forcing us to reorient ourselves toward an experience of the material world for which we don’t seem to have good recording devices. Reset Modernity! is organized around six procedures that might induce the readers to reset some of those instruments. Once this reset has been completed, readers might be better prepared for a series of new encounters with other cultures. After having been thrown into the modernist maelstrom, those cultures have difficulties that are just as grave as ours in orienting themselves within the notion of modernity. It is not impossible that the course of those encounters might be altered after modernizers have reset their own way of recording their experience of the world. At the intersection of art, philosophy, and anthropology, Reset Modernity! has assembled close to sixty authors, most of whom have participated, in one way or another, in the Inquiry into Modes of Existence initiated by Bruno Latour. Together they try to see whether such a reset and such encounters have any practicality. Much like the two exhibitions Iconoclash and Making Things Public, this book documents and completes what could be called a “thought exhibition:” Reset Modernity! held at ZKM | Center for Art and Media Karlsruhe from April to August 2016. Like the two others, this book, generously illustrated, includes contributions, excerpts, and works from many authors and artists. ContributorsJamie Allen, Terence Blake, Johannes Bruder, Dipesh Chakrabarty, Philip Conway, Michael Cuntz, Eduardo Viveiros de Castro, Didier Debaise, Gerard de Vries, Philippe Descola, Vinciane Despret, Jean-Michel Frodon, Martin Giraudeau, Sylvain Gouraud, Lesley Green, Martin Guinard-Terrin, Clive Hamilton, Graham Harman, Antoine Hennion, Andres Jaque, Pablo Jensen, Bruno Karsenti, Sara Keel, Oleg Kharkhordin, Joseph Leo Koerner, Eduardo Kohn, Bruno Latour, Christophe Leclercq, Vincent-Antonin Lepinay, James Lovelock, Patrice Maniglier, Claudia Mareis, Claude Marzotto, Kyle McGee, Lorenza Mondada, Pierre Montebello, Stephen Muecke, Cyril Neyrat, Cormac O’Keeffe, Hans Ulrich Obrist, P3G, John Palmesino, Nicolas Prignot, Donato Ricci, Ann-Sofi Ronnskog, Maia Sambonet, Henning Schmidgen, Isabelle Stengers, Hanna Svensson, Thomas Thwaites, Nynke van Schepen, Consuelo Vasquez, Peter Weibel, Richard White, Aline Wiame, Jan Zalasiewicz Exhibition April 10, 2016–August 21, 2016ZKM | Center for Art and Media Karlsruhe Copublished with ZKM | Center for Art and Media, Karlsruhe
About the Author
Bruno Latour, a philosopher and anthropologist, is the author of Reassembling the Social: An Introduction to Actor-Network Theory, Our Modern Cult of the Factish Gods, An Inquiry into Modes of Existence, and many other books. He curated the ZKM exhibits ICONOCLASH and Making Things Public and coedited the accompanying catalogs, both published by the MIT Press.