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Franchising Toys and Characters in Japan
In Anime’s Media Mix, Marc Steinberg convincingly shows that anime is far more than a style of Japanese animation. Beyond its immediate form of cartooning, anime is also a unique mode of cultural production and consumption that led to the phenomenon that is today called “media mix” in Japan and “convergence” in the West.
According to Steinberg, both anime and the media mix were ignited on January 1, 1963, when Astro Boy hit Japanese TV screens for the first time. Sponsored by a chocolate manufacturer with savvy marketing skills, Astro Boy quickly became a cultural icon in Japan. He was the poster boy (or, in his case, “sticker boy”) both for Meiji Seika’s chocolates and for what could happen when a goggle-eyed cartoon child fell into the eager clutches of creative marketers. It was only a short step, Steinberg makes clear, from Astro Boy to Pokémon and beyond.
Steinberg traces the cultural genealogy that spawned Astro Boy to the transformations of Japanese media culture that followed—and forward to the even more profound developments in global capitalism supported by the circulation of characters like Doraemon, Hello Kitty, and Suzumiya Haruhi. He details how convergence was sparked by anime, with its astoundingly broad merchandising of images and its franchising across media and commodities. He also explains, for the first time, how the rise of anime cannot be understood properly—historically, economically, and culturally—without grasping the integral role that the media mix played from the start. Engaging with film, animation, and media studies, as well as analyses of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day.
The Development of Residential Architecture in Fayette County, Kentucky
The ante bellum homes of Lexington and Fayette County, Kentucky, are both more numerous and more distinctive in design than those of many communities of similar age. Founded in 1775, Lexington by the turn of the century had become the chief cultural center north of New Orleans and west of the Alleghenies. During the eight decades between the Revolution and the Civil War, Fayette County was the focus of converging streams of immigration, and a phenomenal amount of building activity took place in Lexington and the surrounding area. Although local builders followed the trends of national architecture, they were not primarily concerned with "correctness," and developed a provincial style which was distinguished by originality and a high level of craftsmanship.
In Ante Bellum Houses of the Bluegrass, Clay Lancaster seeks to define the indigenous character of Fayette County building, which he concludes is of unusually distinguished quality. A second aim is the presentation of authentic data as a guide for intelligent restoration of existing old buildings, many of which have been defaced by unnecessary changes and inappropriate additions. He traces the development of house building in this restricted area from the first crude log cabins, through frame, stone, and early brick residences, to the substantial homes built by wealthy landowners and merchants in the mid-nineteenth century.
The text is supplemented by 200 line drawings which present the essential features of each building free from the later alterations and decay which would be recorded by the camera. These illustrations have been compiled on the basis of intensive research, from old photographs, maps, drawings, and other records. An album of halftone illustrations, many of which are reproductions of old photographs of buildings which have been altered or demolished, supplements these illustrations.
During the eight decades preceding the Civil War, Kentucky was the scene of tremendous building activity. Located in the western section of the original English colonies, midway between North and South, Kentucky saw the rise of an architecture that combined the traditions of nationally known designers, eager to achieve the refinements of their English mother culture, alongside the innovativeness and bold originality proper to the frontier. Tradition thus provided a tangible link with world architectural development, while innovation offered refreshing variations. The result was a distinctive regional architecture.
In his newest look at Kentucky architecture, Clay Lancaster broadens his scope to include analyses of significant structures from throughout the commonwealth, illustrating the entire range of stylistic development. Like his acclaimed earlier book Antebellum Houses of the Bluegrass, the current volume provides historical background as well as drawings, photographs, and floor plans, showing both general features and details.
Among the many Kentucky buildings discussed are examples by such well-known early American architects as Benjamin Henry Latrobe, Thomas Jefferson, James Dakin, Isaiah Rogers, Alexander J. Davis, and Francis Costigan, as well as the work of local master builders such as Matthew Kennedy, Micajah Burnett, Gideon Shryock, Thomas Lewinski, and John McMurtry. Also included are Kentucky buildings designed from nationally distributed architectural books and builders' guides.
Lancaster gives special attention to the Geometric Style, which evolved further and produced more noteworthy monuments in Kentucky than anywhere else in America. Such buildings, in turn, bestowed a simplicity and straightforwardness on structures in later styles.
As Lancaster shows, the architecture that resulted from Kentucky's fertile eclecticism constitutes a rich and rewarding architectural heritage. All lovers of fine architecture will treasure this handsome and informative book.
From Futurist Cooking to Eat Art
Discussing an aspect of the European avant-garde that has often been neglected-its relationship to the embodied experience of food, its sensation, and its consumption-Cecilia Novero exposes the surprisingly key roles that food plays in the theoretical foundations and material aesthetics of a broad stratum of works ranging from the Italian Futurist Cookbook to the magazine Dada, Walter Benjamin's writings on eating and cooking, Daniel Spoerri's Eat Art, and the French New Realists.
Starting from the premise that avant-garde art involves the questioning of bourgeois aesthetics, Novero demonstrates that avant-garde artists, writers, and performers have produced an oppositional aesthetics of indigestible art. Through the rhetoric of incorporation and consumption and the use of material ingredients in their work, she shows, avant-garde artists active in the 1920s and 1930s as well as the neo-avant-garde movements engaged critically with consumer culture, memory, and history.
Attention to food in avant-garde aesthetics, Novero asserts, reveals how these works are rooted in a complex temporality that associates memory and consumption with dynamics of change.
The Art Markets in Italy, 1400-1700
The chapters of this book revolve around the notion of the other in Jacques Derrida's work. How does Derrida write of and on the other? Arguing that Derrida offers the most attentive and responsible thinking about the undeniable experience of the alterity of the other,Apparitions--of Derrida's Other examines exemplary instances of the relation to the other--the relation of Moses to God, Derrida's friendship with Jean-Luc Nancy, Derrida's relation to a recently departed actress caught on video, among others--to demonstrate how Derrida forces us to reconceive who or what the other may be. For Derrida, the singularity of the other, always written in the lower case, includes not only the formal or logical sense of alterity, the otherness of the human other, but also the otherness of the nonliving, the no longer living, or the not yet alive. The book explores welcoming and hospitality, salutation and greeting, approaching,and mourning as constitutive facets of the relation to these others. Addressing Derrida's readings of Husserl, Levinas, Barthes, Blanchot, and Nancy, among other thinkers, and ranging across a number of disciplines, including art, literature, philosophy, and religion, this book explores the apparitions of the other by attending to the mode of appearing or coming on the scene, the phenomenality and visibility of the other. Analyzing some of Derrida's essays on the visual arts, the book also demonstrates that video and photography display an intimate relation to spectrality,as well as a structural relation to the absolute singularity of the other.
Architects of Little Rock provides biographical and historical sketches of the architects working in Little Rock from 1830 to 1950. Thirty-five architects are profiled, including George R. Mann, Thomas Harding, Charles L. Thompson, Max. F. Mayer, Edwin B. Cromwell, George H. Wittenberg, Lawson L. Delony, and others. Readers will learn who these influential professionals were, where they came from, where they were educated, how they lived, what their families were like, how they participated in the life of the city, and what their buildings contributed to the city. Famous buildings, including the Historic Arkansas Museum, the Old State House, the Arkansas State Capitol, St. Andrews Cathedral, Little Rock City Hall, the Pulaski County Court House, Little Rock Central High School, and Robinson Auditorium are showcased, bringing attention to and encouraging appreciation of the city’s historic buildings.
The Delusional, Abusive, Addictive Lives of Buildings
Buildings are not benign; rather, they commonly manipulate and abuse their human users. Architectural Agents makes the case that buildings act in the world independently of their makers, patrons, owners, or occupants. And often they act badly.
Treating buildings as bodies, Annabel Jane Wharton writes biographies of symptomatic structures in order to diagnose their pathologies. The violence of some sites is rooted in historical trauma; the unhealthy spatial behaviors of other spaces stem from political and economic ruthlessness. The places examined range from the Cloisters Museum in New York City and the Palestine Archaeological Museum (renamed the Rockefeller Museum) in Jerusalem to the grand Hostal de los Reyes Católicos in Santiago de Compostela, Spain, and Las Vegas casino resorts. Recognizing that a study of pathological spaces would not be complete without an investigation of digital structures, Wharton integrates into her argument an original consideration of the powerful architectures of video games and immersive worlds. Her work mounts a persuasive critique of popular phenomenological treatments of architecture.
Architectural Agents advances an alternative theorization of buildings’ agency—one rooted in buildings’ essential materiality and historical formation—as the basis for her significant intervention in current debates over the boundaries separating humans, animals, and machines.
This manifesto is a verbal articulation of the authors' visionary theory of how the human body, architecture, and creativity define and sustain one another.
This revolutionary work by artist-architects Arakawa and Madeline Gins demonstrates the inter-connectedness of innovative architectural design, the poetic process, and philosophical inquiry. Together, they have created an experimental and widely admired body of work--museum installations, landscape and park commissions, home and office designs, avant-garde films, poetry collections--that challenges traditional notions about the built environment. This book promotes a deliberate use of architecture and design in dealing with the blight of the human condition; it recommends that people seek architectural and aesthetic solutions to the dilemma of mortality.
In 1997 the Guggenheim Museum presented an Arakawa/Gins retrospective and published a comprehensive volume of their work titled Reversible Destiny: We Have Decided Not to Die. Architectural Body continues the philosophical definition of that project and demands a fundamental rethinking of the terms "human" and "being." When organisms assume full responsibility for inventing themselves, where they live and how they live will merge. The artists believe that a thorough re-visioning of architecture will redefine life and its limitations and render death passe. The authors explain that "Another way to read reversible destiny . . . Is as an open challenge to our species to reinvent itself and to desist from foreclosing on any possibility."
Audacious and liberating, this volume will be of interest to students and scholars of 20th-century poetry, postmodern critical theory, conceptual art and architecture, contemporary avant-garde poetics, and to serious readers interested in architecture's influence on imaginative expression.