How To Make Art At The End Of The World
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Set Me On Fire
'Broad in scope, generous in spirit and wittily accompanied by Risbridger's commentary' Sarah Perry, author of The Essex Serpent Set Me On Fire is an anthology for a new moment in poetry: a collection of fresh, vibrant voices from poets all over the globe, both living and dead. With an intuitive, accessible, feelings-first format, these are poems for the moments when you really need to know that someone else has been there too. These are poems about eating and kissing and having too many feelings, about being outside and inside and loving someone so much you think you might die. They are about break-ups and getting back together and oh-god-it's-complicated-don't-ask-me moments. They are about wanting and waiting and having, about grieving and life after death and the end of the world. They are, in other words, about being alive.
The Concept of Definiteness and Its Application to Automated Reference Resolution
This book is a study of the category of definiteness in the light of research on mental spaces and frames. The author formulates a set of eight uniform rules for the use of the definite, indefinite, and zero articles in English and German. The Concept of Definiteness presents an algorithm for nominal reference resolution that uses the definiteness value of each noun phrase to guide the search for its referent. The book discusses the results of the application of an automated system based on the proposed algorithm to texts in modern English. It also demonstrates applicability of the selected approach to text fragments representing all major historical variants of the German language.
Making Art History
Making Art History is a collection of essays by contemporary scholars on the practice and theory of art history as it responds to institutions as diverse as art galleries and museums, publishing houses and universities, school boards and professional organizations, political parties and multinational corporations. The text is split into four thematic sections, each of which begins with a short introduction from the editor, the sections include: Border Patrols, addresses the artistic canon and its relationship to the ongoing 'war on terror', globalization, and the rise of the Belgian nationalist party. The Subjects of Art History, questions whether 'art' and 'history' are really what the discipline seeks to understand. Instituting Art History, concerns art history and its relation to the university and raises questions about the mission, habits, ethics and limits of university today. Old Master, New Institutions, shows how art history and the museum respond to nationalism, corporate management models and the 'culture wars'.