Markus Krajewski is emerging as a leading scholar in the field of media archaeology, which seeks to trace cultural history through the media networks that enable and structure it. In World Projects he opens a new portal into the history of globalization by examining several large-scale projects that, at the beginning of the twentieth century, shared a grand yet unachievable goal: bringing order to the world. Drawing from a broad array of archival materials, Krajewski reveals how expanding commercial relations, growing international scientific agreements, and an imperial monopolization of the political realm spawned ambitious global projects. World Projects contends that the late nineteenth-century networks of cables, routes, and shipping lines—of junctions, crossovers, and transfers—merged into a “multimedia system” that was a prerequisite for conceiving a world project. As examples, he presents the work of three big-thinking “plansmiths,” each of whose work mediates between two discursive fields: the chemist and natural philosopher Wilhelm Ostwald, who spent years promoting a “world auxiliary language” and a world currency; the self-taught “engineer” and self-anointed authority on science and technology Franz Maria Feldhaus, who labored to produce an all-encompassing “world history of technology”; and Walther Rathenau, who put economics to the service of politics and quickly transformed the German economy. With a keen eye for the outlandish as well as the outsized, Krajewski shows how media, technological structures, and naked human ambition paved the way for global-scale ventures that together created the first “world wide web.”
Blue Book of Art Values: Artists & Their Works from Around the World
Peter Jennings and Todd Brewster, The Century (New York: Doubleday, 1998), 154. 8. Time-Life Editors, This Fabulous Century, Vol. IV, 23. 9.
Offers a selection of eighty-seven full-color reproductions of Timberlake's paintings, with an introduction by the painter
THE FERRELL BROTHERS, WILBUR AND WARREN , in their own words "were not known as singular artists but a duo." Wilbur began his career as a motion picture ...
Adelson, Warren, “John Singer Sargent and the 'New Painting,'” in Stanley Olson, Warren Adelson, and Richard Ormond, Sargent at Broadway: The Impressionist ...
This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
Through careful research, Carol Gibson-Wood exposes the mythology surrounding the Morellian method, especially the mythology of the coherence and primacy of his method of attribution. She argues that it “could also be said that Berenson ...
Gibson translates from the Phoenician: “Beware! Behold, there is disaster for you ... !” (SSI 3, no. 5=KAI nr. 2). Examples from Cyprus include SSI 3, no. 12=KAI nr. 30. Gibson's translation of the Phoenician reads (SSI 3, ...
Examines the emergence of abstract organic forms and their assimilation into the popular arts and culture of American life from 1940-1960, covering advertising, decorative arts, commercial design, and the fine arts.
... S. Newman ACCOUNTING Christopher Nobes ADAM SMITH Christopher J. Berry ADOLESCENCE Peter K. Smith ADVERTISING ... ALGEBRA Peter M. Higgins AMERICAN CULTURAL HISTORY Eric Avila AMERICAN HISTORY Paul S. Boyer AMERICAN IMMIGRATION ...