"Here at last is an introduction to today's hottest new art medium, the instant copier. As close by as the nearest post office, library, or copy center, the 'miracle machine' lets anyone design eye-catching graphics and unusual crafts at the push of a button. This lively, lavishly illustrated volume presents the most striking examples of what is coming to be called Copy Art along with the techniques of the artists who created them. It also explores the history and technology of the duplicating medium. An exclusive 'how-to' section shows how anyone can use paper, fabric, or almost any material to turn any object or image, black and white or color, into inexpensive high-quality prints, paper sculpture, clothing, pillows, T-shirts, dynamic presentations, personalized greeting cards, and many other useful, unique, and decorative items." -- Back cover

This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word “copying” permeates contemporary culture, shaping discourse on issues from hip hop to digitization to gender reassignment, and is particularly crucial in legal debates concerning intellectual property and copyright. Yet as a philosophical concept, copying remains poorly understood. Working comparatively across cultures and times, Marcus Boon undertakes an examination of what this word means—historically, culturally, philosophically—and why it fills us with fear and fascination. He argues that the dominant legal-political structures that define copying today obscure much broader processes of imitation that have constituted human communities for ages and continue to shape various subcultures today. Drawing on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice, In Praise of Copying seeks to show how and why copying works, what the sources of its power are, and the political stakes of renegotiating the way we value copying in the age of globalization.

Covers the art and history of mechanical copying from the dawn of the industrial revolution to the remarkable founding of the Xerox Corporation. In part one, historian Rhodes reveals the social impact of the copy press in the office and the traditions, material, and methods used. In Part two, collec

Examines the transmission of painting traditions in Japan.

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. This full eBook version is in fixed-layout format to ensure layout and image quality is consistent with the original hardback edition. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis. This is the full eBook version of the original hardback edition.