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A History of Video Art
A History of Video Art is a revised and expanded edition of the 2006 original, which extends the scope of the first edition, incorporating a wider range of artists and works from across the globe and explores and examines developments in the genre of artists' video from the mid 1990s up to the present day. In addition, the new edition expands and updates the discussion of theoretical concepts and ideas which underpin contemporary artists' video. Tracking the changing forms of video art in relation to the revolution in electronic and digital imaging that has taken place during the last 50 years, A History of Video Art orients video art in the wider art historical context, with particular reference to the shift from the structuralism of the late 1960s and early 1970s to the post-modernist concerns of the 1980s and early 1990s. The new edition also explores the implications of the internationalisation of artists' video in the period leading up to the new millennium and its concerns and preoccupations including post-colonialism, the post-medium condition and the impact and influence of the internet.
Legalizing Theft
When our infrastructures deteriorate, when social benefits are frozen, when our living conditions are precarious, it is because of tax havens. A source of growing inequalities and colossal tax losses, the use of tax havens by large corporations and wealthy individuals explains the increasingly popular austerity policies of governments in the West. With formidable efficacy and clarity, and in the wake of the Paradise Papers leak, Alain Deneault raises the political questions behind of this legalized theft: What are the consequences of tax havens? How do we counter the private sovereignty thus conferred on the powerful? As taxpayers shoulder the social and financial burdens while corporations hide billions in off-shore tax havens, Deneault identifies the urgent need to put an end to this legalized theft.
Hagenberg Research
BrunoBuchberger This book is a synopsis of basic and applied research done at the various re search institutions of the Softwarepark Hagenberg in Austria. Starting with 15 coworkers in my Research Institute for Symbolic Computation (RISC), I initiated the Softwarepark Hagenberg in 1987 on request of the Upper Aus trian Government with the objective of creating a scienti?c, technological, and economic impulse for the region and the international community. In the meantime, in a joint e?ort, the Softwarepark Hagenberg has grown to the current (2009) size of over 1000 R&D employees and 1300 students in six research institutions, 40 companies and 20 academic study programs on the bachelor, maste...
Offshore
Offshore reveals how the vast network of unregulated financial centers—from Luxemburg to the Cayman islands to the tiny Pacific haven of Nauru— amount to a nether realm of drug and arms trade profits, enormous private accounts, and multinational corporate financial holdings. Delving into the scandals, the financial structure, and the history of this hidden side of globalization, sociologist Alain Deneault depicts something larger and more ominous than simple “tax havens” where financial elites and corporations must reside X days out of every calendar year to protect their earnings. Instead, Offshore describes a global base of operations from which massive criminal enterprises and corrupt corporations operate freely and with impunity, menacing developing nations and advanced democracies alike.
A Descriptive Discography of Horn Music Based on the Curtiss Blake Collection
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누군가의 일기장을 주웠다
잘 숨고 뾰족한 어느 고슴도치의 기록. 이 일기장의 주인은 자신을 '고슴도치'라고만 소개했다. 다른 사람들과 어울리긴 하지만 사실은 변두리로 물러나 조용히 머무르기를 좋아하고, 자신이 그어 놓은 선을 누군가 밟을라치면 가시를 바짝 세우고 경계태세를 갖추는 모양이 꼭 고슴도치 같다고 했다. 세상살이에 영 자신은 없지만 꿋꿋이 하루를 살기를 원하고, 꽁꽁 숨기도 잘하지만 어느 누구에게는 맘껏 자신을 열어 보이고 싶다고 했다. 하루는 웃고 다른 날은 울면서 설레였다가도 한없이 우울하고 해질녁의 고즈넉함과 한밤의 쓸쓸함을 좋아하되 또 한편으로는 한낮의 소요 속으로 눈감고 뛰어들고 싶다고도 했다. 이 책은 그러한 고슴도치가 오랫동안 쓴 일기를 엮은 것이다.
