A one-of-a-kind blend of art, nature, and conservation, The Underwater Museum re-creates an awe-inspiring dive into the dazzling under-ocean sculpture parks of artist Jason deCaires Taylor. Taylor casts his life-size statues from a special kind of cement that facilitates reef growth, and sinks them to the ocean floor. There, over time, the artworks attract corals, algae, and fish, and evolve into beautiful and surreal installations that are also living reefs. This volume brings readers face to face with these wonders and explains the science behind their creation. Ocean enthusiasts, divers, art lovers, and anyone entranced by the natural world will be instantly engrossed by this pearl of a book.

The marine environment is almost ideal for the preservation of artefacts and, until relatively recently, it also provided complete protection from destruction by man. However, the aqualung has made most shallow underwater sites accessible, leading to widespread plundering. Current deep-sea bed technology now threatens deep water sites. There is a need for immediate international action to preserve the man-made environment, alongside the natural one. The enunciation of legal rules to protect the underwater cultural heritage is a complex issue, involving a matrix of interests and laws, both international and national.

A guide to the undersea sculptures of the award-winning British artist whose works “are both enchanting and ecologically meaningful” (Discover). A one-of-a-kind blend of art, nature, and conservation, The Underwater Museum re-creates an awe-inspiring dive into the dazzling under-ocean sculpture parks of artist Jason deCaires Taylor. Taylor casts his life-size statues from a special kind of cement that facilitates reef growth, and sinks them to the ocean floor. There, over time, the artworks attract corals, algae, and fish, and evolve into beautiful and surreal installations that are also living reefs. This volume brings readers face to face with these wonders and explains the science behind their creation. Ocean enthusiasts, divers, art lovers, and anyone entranced by the natural world will be instantly engrossed by this pearl of a book.

In Wild Blue Media, Melody Jue destabilizes terrestrial-based ways of knowing and reorients our perception of the world by considering the ocean itself as a media environment—a place where the weight and opacity of seawater transforms how information is created, stored, transmitted, and perceived. By recentering media theory on and under the sea, Jue calls attention to the differences between perceptual environments and how we think within and through them as embodied observers. In doing so, she provides media studies with alternatives to familiar theoretical frameworks, thereby challenging scholars to navigate unfamiliar oceanic conditions of orientation, materiality, and saturation. Jue not only examines media about the ocean—science fiction narratives, documentary films, ocean data visualizations, animal communication methods, and underwater art—but reexamines media through the ocean, submerging media theory underwater to estrange it from terrestrial habits of perception while reframing our understanding of mediation, objectivity, and metaphor.

In 2014, aerial photography revealed a structure that appeared to be in the shape of a basilica submerged beneath Lake Iznik, near the ancient city of Nicaea. Including excavation images and dig site maps, biblical scholar and archaeologist Mark Fairchild's work reveals what he argues is likely the location of the First Council of Nicaea.

This book by artist, diver, and editor-in-chief of an underwater magazine Jürgen Claus is a milestone among the books dedicated to the planet sea. It is a knowledge-rich overview, created from facts and experiences, of three main themes that have never been described in context. Marine architectures from both the Pacific and Atlantic regions have now moved from vision to reality. Whether it is a sail-shaped architecture in Nouméa or a whale-shaped one in the Arctic region. Special attention is paid by Prof. Claus to post-disaster architecture. The book will encourage young readers to design metabolic buildings themselves. That the seascape has also become a fluid studio for visual artists may come as a surprise. The works of art, some of which the author has experienced first-hand, have intertwined with an ecological, sustainable way of working. And this is also true to a special degree for the sound artists. They realize their sonic worlds with recordings from the sounding world underwater, a concert hall of hitherto unknown dimensions. The author’s experience as a professor of media art with students flows into the description of multimedia or media-related ocean installations. Here the book becomes a stimulus for realizing one’s own experiences.