Group Therapy invites readers to reconsider their perceptions of mental health, by asking how far our personal wellbeing is related to the values of the society we live in. In the 21st century, where many of our daily activities are mediated by digital devices, it focuses particularly on the impact of new technologies on our sense of self and our collective wellbeing. Using provocations and personal testimonies, the book challenges conventional perceptions of mental illness, while offering practical advice on how to deal with contemporary problems such as internet addiction or mental health in the workplace. Written by artists, psychologists and health professionals, and building upon an exhibition at FACT, Group Therapy provides an accessible 'how to' guide for the contemporary day-to-day experience of mental health.

Architecture Filmmaking investigates how the field of architecture utilizes the practice of filmmaking in research, teaching, and practice, and explores the consequences of this interdisciplinary exchange. While architecture and filmmaking have clearly distinct disciplinary outputs, and filmmaking is a much younger art than architecture, the intersection between them is less defined. This book investigates the ways in which architectural researchers, teachers of architecture, their students and practicing architects, filmmakers and artists are using filmmaking uniquely in their practice. The authors' adept analysis presents a contribution to the debates surrounding interdisciplinary, multidisciplinary, and transdisciplinary methodologies in the emerging field of architecture filmmaking research.

Since the beginning of the conflict in 2003, more than 300,000 lives have been lost in Darfur. Players of the video game Darfur Is Dying learn this sobering fact and more as they work to ensure the survival of a virtual refugee camp. The video game not only puts players in the position of a struggling refugee, it shows them how they can take action in the real world. Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the last one hundred years. The book asks, how do visual media work to produce witnesses-audiences who are drawn into action? The argument is a detailed critique of the notion that there is a seamless trajectory from observing an atrocity to acting in order to intervene. According to Leshu Torchin, it is not enough to have a camera; images of genocide require an ideological framework to reinforce the messages the images are meant to convey. Torchin presents wide-ranging examples of witnessing and genocide, including the Armenian genocide, the Holocaust (engaging film as witness in the context of the Nuremburg trials), and the international human rights organization WITNESS and its sustained efforts to use video to publicize human rights advocacy and compel action. From a historical and comparative approach, Torchin's broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response-both political and judicial-ultimately calling on viewers to act on behalf of human rights.

Adam Tooby is a rising star in the field of aviation art. His work currently graces the new range of Airfix model boxes, as well as covers for military aviation books. Moving away from traditional approaches to the subject matter, he uses computer technology to produce both technically accurate and visually dynamic images of some of the greatest military aircraft in history.

"Taking Place" argues that the relation between geographical location and the moving image is fundamental and that place grounds our experience of film and media. Its original essays analyze film, television, video, and installation art from diverse national and transnational contexts to rethink both the study of moving images and the theorization of place. Through its unprecedented--and at times even obsessive-- attention to actual places, this volume traces the tensions between the global and the local, the universal and the particular, that inhere in contemporary debates on global cinema, television, art, and media.

Contributors: Rosalind Galt, U of Sussex; Frances Guerin, U of Kent; Ji-hoon Kim; Hugh S. Manon, Clark U; Ara Osterweil, McGill U; Brian Price, U of Toronto; Linda Robinson, U of Wisconsin-Whitewater; Michael Siegel; Noa Steimatsky, U of Chicago; Meghan Sutherland, U of Toronto; Mark W. Turner, Kings College London; Aurora Wallace, New York U; Charles Wolfe, U of California, Santa Barbara.

In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Popular writing about specific artworks seldom goes beyond promoting a given piece and explaining how it operates, while scholars and critics remain unsure about how to interpret and evaluate them. This is where Roberto Simanowski intervenes, demonstrating how such critical work can be done.
"Digital Art and Meaning" offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. For instance, Simanowski deciphers the complex meaning of words that not only form an image on a screen but also react to the viewer's behavior; images that are progressively destroyed by the human gaze; text machines generating nonsense sentences out of a Kafka story; and a light show above Mexico City's historic square, created by Internet users all over the world.
Simanowski combines these illuminating explanations with a theoretical discussion that employs art philosophy and history to achieve a deeper understanding of each particular example of digital art and, ultimately, of the genre as a whole.

The French auteur Robert Bresson, director of such classics as "Diary of a Country Priest" (1951), "The Trial of Joan of Arc" (1962), "The Devil, Probably" (1977), and "L'Argent" (1983), has long been thought of as a transcendental filmmaker preoccupied with questions of grace and predestination and little interested in the problems of the social world. This book is the first to view Bresson's work in an altogether different context. Rather than a religious--or spiritual--filmmaker, Bresson is revealed as an artist steeped in radical, revolutionary politics.
Situating Bresson in radical and aesthetic political contexts, from surrealism to situationism, "Neither God nor Master" shows how his early style was a model for social resistance. We then see how, after May 1968, his films were in fact a series of reflections on the failure of revolution in France--especially as "failure" is understood in relation to Bresson's chosen literary precursors, Dostoyevsky and Tolstoy, and Russian revolutionary culture of the nineteenth century.
Restoring Bresson to the radical political culture from which he emerged--and to which he remained faithful--Price offers a major revision of the reputation of one of the most celebrated figures in the history of French film. In doing so, he raises larger philosophical questions about the efficacy of revolutionary practices and questions about interpretation and metaphysical tendencies of film historical research that have, until now, gone largely untested.

A fun, playful look at the importance of first impressions--in design and in life--from acclaimed book designer Chip Kidd.
First impressions are everything. They dictate whether something stands out, how we engage with it, whether we buy it, and how we feel. In "Judge This, "renowned designer Chip Kidd takes us through his day as he takes in first impressions of all kinds. We follow this visual journey as Kidd encounters and engages with everyday design, breaking down the good, the bad, the absurd, and the brilliant as only someone with a critical, trained eye can. From the design of your morning paper to the subway ticket machine to the books you browse to the smartphone you use to the packaging for the chocolate bar you buy as an afternoon treat, Kidd reveals the hidden secrets behind each of the design choices, with a healthy dose of humor, expertise, and of course, judgment as he goes.
"Judge This" is a design love story, exposing the often invisible beauty and betrayal in simple design choices--ones most of us never even think to notice. And with each object, Kidd proves that first impressions, whether we realize it or not, have a huge impact on the way we perceive the world.

"Yellow Future" examines the emergence and popularity of techno-oriental representations in Hollywood cinema since the 1980s, focusing on the ways East Asian peoples and places have become linked with technology to produce a collective fantasy of East Asia as the future. Jane Chi Hyun Park demonstrates how this fantasy is sustained through imagery, iconography, and performance that conflate East Asia with technology, constituting what Park calls oriental style.
Park provides a genealogy of oriental style through contextualized readings of popular films-from the multicultural city in "Blade Runner "and the Japanese American mentor in "The Karate Kid" to the Afro-Asian reworking of the buddy genre in "Rush Hour "and the mixed-race hero in "The Matrix." Throughout these analyses Park shows how references to the Orient have marked important changes in American popular attitudes toward East Asia in the past thirty years, from abjection to celebration, invisibility to hypervisibility.
Unlike other investigations of racial imagery in Hollywood, "Yellow Future "centers on how the Asiatic is transformed into and performed as style in the backdrop of these movies and discusses the significance of this conditional visibility for representations of racial difference.

Chicago New Media, 1973-1992 chronicles the unrecognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago' Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city's new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era who connected new media, academia, and industry. This catalog is a companion to the exhibition Chicago New Media 1973-1992,curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicago, a 2018 initiative of the Terra Foundation for American Art, with presenting partner The Richard H. Driehaus Foundation, to explore Chicago's art and design legacy.

In his latest project, Philippe Parreno (born 1964) used the mediums of landscape and film as a vehicle for playing with the conventions of time and space. According to NASA, any planet hospitable to life will likely orbit a pair of dwarf stars in a Continuously Habitable Zone (CHZ). The effect of orbiting multiple stars is black vegetation. With this in mind, Parreno, with the help of landscape architect Bas Smets, created a garden on a hillside in Porto, Portugal that is futuristic yet primordial: black plants grow where images fade, and we travel to a new fantastical world. Fashioned from earth, black minerals and vegetation, this real garden tells a topographical story that comes from the world of science fiction. "C.H.Z. "features the artist's dark, impasto ink drawings, which functioned as a storyboard for the cinematographer Darius Khondji, as well as stills of the seven stages of the film.

While cinema is a medium with a unique ability to "watch life" and "write movement," it is equally singular in its portrayal of death. The first study to unpack American cinema's long history of representing death, this book considers movie sequences in which the process of dying becomes an exercise in legibility and exploration for the camera and connects the slow or static process of dying to formal film innovation throughout the twentieth century.

C. Scott Combs analyzes films that stretch from cinema's origins to the end of the twentieth century, looking at attractions-based cinema, narrative films, early sound cinema, and films using voiceover or images of medical technology. Through films such as Thomas Edison's "Electrocuting an Elephant" (1903), D. W. Griffith's "The Country Doctor" (1909), John Ford's "How Green Was My Valley" (1941), Billy Wilder's "Sunset Boulevard" (1950), Stanley Kubrick's " 2001: A Space Odyssey" (1968), and Clint Eastwood's "Million Dollar Baby" (2004), Combs argues that the end of dying occurs more than once, in more than one place. Working against the notion that film cannot capture the end of life because it cannot stop moving forward, that it cannot induce the photographic fixity of the death instant, this book argues that the place of death in cinema is persistently in flux, wedged between technological precision and embodied perception. Along the way, Combs consolidates and reconceptualizes old and new debates in film theory.

The first analysis of the relationship between art and video games, from the sixties until today. Art and play: how many forms does this relationship take? Duchamp used to say that art was a game and that games were art. When video games joined the dance of the muses this relationship was further enriched. Video games are an art and in recent years they have had a crucial influence on other arts: cinema, literature, music and visual arts. They stand at the crossroads between very diverse forms of culture and product, and it is precisely the anomaly inherent in this encounter/clash that makes them so terribly interesting. Neoludica is an in-depth exploration of the relationship between art and video games, and it underlines how the video game (an interactive multimedia work) is an art form that has yet to be understood by the world of culture. The interactive dimension is a facet that has attracted art since the advent of environmental installations during the sixties, and it is a dimension that has since been developed in digital art through video installations. The video game/art contamination occurs not only on the aesthetic level, but also through those elements of language which can be defined as conceptual, such as interactivity mentioned above. Naturally, it acquires an artistic dimension when its aims go beyond mere technical prowess and explore the world of fantasy.

Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for top studios such as Disney, Warner Bros., and DreamWorks.

Brimming with pictures and texts by artists and members of the jury, this book documents the outstanding works from the Prix Ars Electronica 2011. The DVD presents a selection of prizewinning submissions dealing with current trends. Since its inception in 1987, the Prix Ars Electronica, the world's most highly remunerated digital arts award, has been an annual barometer of trends in digital creativity, and continues to be a trailblazer in discovering innovative art. Thirty-five international experts judge thousands of submissions in the categories Computer Animation / Film / VFX, Digital Music & Sound Art, Interactive Art, Hybrid Art, Digital Communities, [the next idea], the voestalpine Art and Technology Grant, and the youth competition, u19-freestyle computing.

The insatiable hunger for knowledge, the desire to turn old knowledge on its head; the yearning to find out where we come from; the longing to give meaning to our existence and to anchor ourselves within the big picture of the universe: these fundamental, essential qualities of humankind are the common sources of art and knowledge. In cooperation with CERN, the international research institute, where over ten thousand scientists from many different nations are attempting to understand the creation of the universe and the origin of all material, Ars Electronica 2011 is working in the world of top level research. It's also about gaining a new perspective of institutions such as CERN. After all, they are affording room for thought, which is not only indispensible for science, but also urgently needed for the development of plans for sustainable societies.

"Cinematic Appeals" follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time.

In a conversation with dOCUMENTA (13) Agents Ayreen Anastas and Rene Gabri, New York-based video artist Paul Ryan talks about the theoretical and biographical background to his work, about formative experiences while being an assistant to Marshall McLuhan, and about his role within the video group Raindance and their magazine Radical Software-and about how all these influences shaped his desire to connect his artistic practice with revolutionary social action. Ryan's idea of Threeing lies at the center. Based on Charles Sanders Peirce's phenomenological categories of firstness, secondness, and thirdness, Threeing is a voluntary practice of relating, in which three people take turns playing three roles. The conversation is complemented by a detailed appendix with illustrated texts on Threeing and on Ryan's concept of the Relational Circuit.

A behind-the-scenes look at director Christopher Nolan's gripping action-thriller Dunkirk, which brings to life one of World War II's most pivotal events. Set during World War II, director Christopher Nolan's (The Dark Knight Trilogy, Interstellar) much-anticipated new film tells the story of the evacuation of British troops from Dunkirk, France, in a daring endeavor that saved them from certain defeat at the hands of enemy forces. Featuring a stunning ensemble cast that includes newcomers Fionn Whitehead, Tom Glynn-Carney, and Harry Styles, as well as acclaimed actors Kenneth Branagh, Mark Rylance, Cillian Murphy, and Tom Hardy, Dunkirk offers a breathtaking glimpse at a turning point in the conflict determined by not only the ingenuity of the British forces but also the bravery of British civilians who sailed into war-torn waters to save them. The Making of Dunkirk tells the incredible story of how Nolan brought this pivotal moment in World War II to life on the screen using innovative film-making techniques that give the film a gritty, exhilarating realism rarely seen in modern cinema. Featuring interviews with the director and key department heads and filled with never-before-seen imagery from the shoot, plus concept art, storyboards, and other amazing visuals, The Making of Dunkirk is the ultimate insider's look at one of the most anticipated films of 2017.

Bringing together established and emerging practitioners whose primary medium is light, as material or subject, this book communicates the ways in which each practitioner extends the language of light and provides insights into the creative process. Structured around four thematic essays - Political Light, Mediating Light, Performance Light and Absent Light - it develops our understanding of light as a creative medium and its impact on our cultural history and examines the role that light plays in the new frontiers of art, design and technology. The contributors have been chosen for their range of work across disciplines, with a focus on practice and methodologies. They include early pioneers and innovators of light, as well as current practitioners from the fields of theatre, music, performance, fine art, film, public art, holography, architecture, and the built environment, together with curators and other experts. Beautifully illustrated with photographs, sketches and artefacts selected by the artists and designers, the book includes interviews with Gustav Metzger, Yoko Ono, Liliane Lijn, Susan Hiller, Anthony McCall, David Batchelor, Richard Wilson and Anne Bean, Wenyon & Gamble, Helen Marriage, Michael Hulls & Russell Maliphant, Paule Constable, Rick Fisher, Andi Watson, Paul Normandale, Chris Levine, Mark Major (Speirs & Major), Jason Bruges, Angus Farquhar (NVA), Cliff Lauson, Rana Begum, Robin Bell, Laura Buckley, Katie Paterson, Haroon Mirza, Manu Luksch, Rafael Lozano Hemmer.