Literary Nonfiction. Art. Film. Winner of the 2020 Nautilus Award's Gold Medal for Creativity & Innovation. In this fragmentary and fluent little gem--full of light and stunning, full-color images--writer and time-based artist Marilyn Freeman offers up her own contemplative practice of dowsing for and creating "opportune moments" of insight and healing. With humor and humility, Freeman reveals her innovative approach to making video essays, a process developed over years of art-making, study and personal searching--a process of waking up again and again to the extraordinary possibilities hidden in everyday existence. Freeman introduces a theory of "evocative" practice as an alternative to the conventions of narrative and non-fiction filmmaking--a risky and rigorous engagement with form that invites the audience to participate in the creation of meaning. Her examination of the dialectical relationship of sound and image takes us far deeper than just a critical study of audio/visual media--deep into the human heart with its dark traumas and its shimmering capacity for honest and compassionate reckoning. Transgressing disciplinary boundaries and trading authority for authentic inquiry, Freeman takes us with her on a foray into time-based art that leaps and wanders from movie theaters to museums to Instagram in search of the "illuminated spaces" where we encounter ourselves and each other. This book is an essential resource for artists who question the importance of their work in these dark times, and for anyone seeking wisdom and wonder in our ordinary world.

"A tiny insect king demands a rock with which to build his throne"--

Laugh and learn with fun facts about the sun, the moon, the planets, constellations, astronauts, and more—all told in Dr. Seuss’s beloved rhyming style and starring The Cat in the Hat! “The universe is a mysterious place. We are only just learning what happens in space.” The Cat in the Hat’s Learning Library series combines beloved characters, engaging rhymes, and Seussian illustrations to introduce children to non-fiction topics from the real world! On this adventure into outer space, readers will discover: • what makes each planet in our solar system unique • how a million Earths could fit inside the sun • how astronauts have driven a special car all over the moon • and much more! Perfect for story time and for the youngest readers, There’s No Place Like Space: All About Our Solar System also includes an index, glossary, and suggestions for further learning. Look for more books in the Cat in the Hat’s Learning Library series! Cows Can Moo! Can You? All About Farms Hark! A Shark! All About Sharks If I Ran the Dog Show: All About Dogs Oh Say Can You Say Di-no-saur? All About Dinosaurs On Beyond Bugs! All About Insects One Vote Two Votes I Vote You Vote Who Hatches the Egg? All About Eggs Why Oh Why Are Deserts Dry? All About Deserts Wish for a Fish: All About Sea Creatures

The significance of Jean-François Lyotard's innovative 1985 exhibition Les Immatériaux and the “curatorial turn” in critical theory. In 1985, the philosopher Jean-François Lyotard curated Les Immatériaux at Centre Georges Pompidou. Though widely misunderstood at the time, the exhibition marked a “curatorial turn” in critical theory. Through its experimental layout and hybrid presentation of objects, technologies, and ideas, this pioneering exploration of virtuality reflected on the exhibition as a medium of communication and anticipated a deeper engagement with immersive and digital space in both art and theory. In Spacing Philosophy, Daniel Birnbaum and Sven-Olov Wallenstein analyze the significance and logic of Lyotard's exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard's own work on aesthetics and phenomenology. Les Immatériaux can thus be seen as a culmination and materialization of a life's work as well as a primer for the many thought-exhibitions produced in the following decades. The significance of Jean-François Lyotard's innovative 1985 exhibition Les Immatériaux and the “curatorial turn” in critical theory. Forthcoming from the MIT Press