An experimentalist novel which captures the `collective unconscious' of the twentieth century in a language that can have few rivals for economy, beauty and rhythm.

This book analyses the intermeshing of state power and art history in Europe since 1945 and up to the present from a critical, de-centered perspective. Devoting special attention to European peripheries and to under-researched transnational cultural political initiatives related to the arts implemented after the end of the Second World War, the contributors explore the ways in which this relationship crystallised in specific moments, places, discourses and practices. They make the historic hegemonic centres of the discipline converse with Europe’s Southern and Eastern peripheries, from Portugal to Estonia to Greece. By stressing the margins’ point of view this volume rethinks the ideological grounds on which art history and the European Union have been constructed as well as the role played by art and culture in the very concept of ‘Europe.’

Rain is elemental, mysterious, precious, destructive. It is the subject of countless poems and paintings; the top of the weather report; the source of the world's water. Yet this is the first book to tell the story of rain. Cynthia Barnett's Rain begins four billion years ago with the torrents that filled the oceans, and builds to the storms of climate change. It weaves together science—the true shape of a raindrop, the mysteries of frog and fish rains—with the human story of our ambition to control rain, from ancient rain dances to the 2,203 miles of levees that attempt to straitjacket the Mississippi River. It offers a glimpse of our "founding forecaster," Thomas Jefferson, who measured every drizzle long before modern meteorology. Two centuries later, rainy skies would help inspire Morrissey’s mopes and Kurt Cobain’s grunge. Rain is also a travelogue, taking readers to Scotland to tell the surprising story of the mackintosh raincoat, and to India, where villagers extract the scent of rain from the monsoon-drenched earth and turn it into perfume. Now, after thousands of years spent praying for rain or worshiping it; burning witches at the stake to stop rain or sacrificing small children to bring it; mocking rain with irrigated agriculture and cities built in floodplains; even trying to blast rain out of the sky with mortars meant for war, humanity has finally managed to change the rain. Only not in ways we intended. As climate change upends rainfall patterns and unleashes increasingly severe storms and drought, Barnett shows rain to be a unifying force in a fractured world. Too much and not nearly enough, rain is a conversation we share, and this is a book for everyone who has ever experienced it.

The first book to look at the relationship either between Surrealism and Science Fiction or between Surrealism and comics.

NOW A MAJOR MOTION PICTURE FROM FOX 2000 STARRING MILO VENTIMIGLIA, AMANDA SEYFRIED, AND KEVIN COSTNER MEET THE DOG WHO WILL SHOW THE WORLD HOW TO BE HUMAN The New York Times bestselling novel from Garth Stein—a heart-wrenching but deeply funny and ultimately uplifting story of family, love, loyalty, and hope—a captivating look at the wonders and absurdities of human life . . . as only a dog could tell it. “Splendid.” —People “The perfect book for anyone who knows that compassion isn’t only for humans, and that the relationship between two souls who are meant for each other never really comes to an end. Every now and then I’m lucky enough to read a novel I can’t stop thinking about: this is one of them.” —Jodi Picoult “It’s impossible not to love Enzo.” —Minneapolis Star Tribune “This old soul of a dog has much to teach us about being human. I loved this book.” —Sara Gruen

Witness of Phenomenon articulates a fresh examination of the German Group Zero-Heinz Mack, Otto Piene, and G�nter Uecker-and other new tendency artists, who rejected painting and introduced new art media in postwar Europe. Group ZERO evolved into a network across Europe- Amsterdam, Milan, Paris, and Zagreb. This pan-European affiliation of artists generated a continuous stream of innovative artistic statements through the 1960s, incorporating non-traditional materials and new technologies to create kinetic art, light installations, performances, immersive multimedia installations, monumental land art, and the communication media of video and television. They transformed the visual arts from the inanimate objet d'art to a sensory experience by adopting the ascendant philosophy of Phenomenology as their conceptual foundation. Drawing from a decade of research on unpublished archives of the artists and critics of this period, this publication positions Group ZERO as a catalytic art moment in the transition from modern to contemporary art.