Empfehlungen basierend auf "Creativity The Psychology of Discovery and Invention"

Instant New York Times bestsellerThe long-awaited first work of nonfiction from the author of the #1 New York Times bestselling Once Upon a Time in Hollywood: a deliriously entertaining, wickedly intelligent cinema book as unique and creative as anything by Quentin Tarantino.In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with Cinema Speculation, the time has come, and the results are everything his passionate fans—and all movie lovers—could have hoped for. Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining. At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT’s and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.

The perfect gift for the art lover in your life. In the tradition of Eats, Shoots & Leaves, Will Gompertz teaches art history with a sense of humorEvery year, millions of museum and gallery visitors ponder the modern art on display and secretly ask themselves, "Is this art?" A former director at London's Tate Gallery and now the BBC arts editor, Will Gompertz made it his mission to bring modern art's exciting history alive for everyone, explaining why an unmade bed or a pickled shark can be art—and why a five-year-old couldn't really do it. Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

This far-ranging book shows how human memory influences the organization of music. The book is divided into two parts. The first part presents basic ideas about memory and perception from cognitive psychology and, to some extent, cognitive linguistics. Topics include auditory processing, perception, and recognition. The second part describes in detail how the concepts from the first part are exemplified in music. The presentation is based on three levels of musical experience: event fusion (the formation of single musical events from acoustical vibrations in the air, on a time scale too small to exhibit rhythm), melody and rhythm, and form. The focus in the latter is on the psychological conditions necessary for making large-scale—that is, formal—boundaries clear in music rather than on traditional musical forms. The book also discusses the idea that much of the language used to describe musical structures and processes is metaphorical. It encourages readers to consider the possibility that the process of musical composition can be "a metaphorical transformation of their own experience into sound."The book also touches on unresolved debates about psychological musical universals, information theory, and the operation of neurons. It requires no formal musical training and contains a glossary and an appendix of listening examples.

Who would we be without stories? Stories mould who we are, from our character to our cultural identity. They drive us to act out our dreams and ambitions, and shape our politics and beliefs. We use them to construct our relationships, to keep order in our law courts, to interpret events in our newspapers and social media. Storytelling is an essential part of what makes us human. There have been many attempts to understand what makes a good story -- from Joseph Campbell's well-worn theories about myth and archetype to recent attempts to crack the 'Bestseller Code'. But few have used a scientific approach. This is curious, for if we are to truly understand storytelling in its grandest sense, we must first come to understand the ultimate storyteller -- the human brain. In this scalpel-sharp, thought-provoking book, Will Storr demonstrates how master storytellers manipulate and compel us, leading us on a journey from the Hebrew scriptures to Mr Men, from Booker Prize-winning literature to box set TV. Applying dazzling psychological research and cutting-edge neuroscience to the foundations of our myths and archetypes, he shows how we can use these tools to tell better stories -- and make sense of our chaotic modern world.

An illuminating reflection on the creative process from acclaimed fiction writer, essayist, and translator Lydia Davis When asked why she writes, Lydia Davis confesses that the question makes her uncomfortable. Maybe she would rather not know. Instead, Davis considers how she writes her stories, how other writers write, and what insights the how might provide into the why. In this free-ranging exploration, Davis discovers that one reason she writes is for pleasure: the pleasure of encountering something that demands to be treated in language, of handling and manipulating the language into the form it ought to take, and, finally, of seeing a story exist where it didn't exist before. As she observes the processes of some of the authors who interest her the most, she finds that there seem to be as many reasons to write as there are writers: to relive an experience, to share an experience, to articulate something one has not quite comprehended. Reflecting on an eclectic mix of thinkers, including James Baldwin, Kate Briggs, Walter Raleigh, Christina Sharpe, Knut Hamsun, Grace Paley, Josep Pla, John Ashbery, and John Clare, Davis undertakes a clear-eyed, patient inquiry into the manifold reasons we choose to put pen to paper and begin something new.

This is a chapter from Alex Ross’s groundbreaking history of twentieth-century classical music, ‘The Rest is Noise’. Further extracts are available as digital shorts, accompanying the London Southbank festival programme. Profiling Debussy and Schoenberg, two of the century’s earliest innovators, Ross traces the development of atonality, and with it the reinvention of Western harmonic tradition. Now a major festival running throughout 2013 at London’s Southbank, The Rest is Noise is an intricate commentary not just on the sounds that defined the century, but on art’s troublesome dance with politics, social and cultural change. Alex Ross is the New Yorker’s music critic, and the winner of the Guardian First Book Award and the National Book Critics Circle Award for The Rest is Noise, which was also shortlisted for the Samuel Johnson and Pulitzer prizes for non-fiction.

This is the only book that combines conceptual and practical instruction on creating polished and eloquent images for film and video with the technical know-how to achieve them. Loaded with hundreds of full-color examples, The Filmmaker's Eye is a focused, easy-to-reference guide that shows you how to become a strong visual storyteller through smart, effective choices for your shots. This book has struck a chord worldwide and is being translated into several languages After a short introduction to basic principles, a variety of shots are deconstructed in the following format: - Why It Works: an introduction to a particular type of shot - How It Works: callouts point out exactly how the shot works the way it does--the visual rules and technical aspects in action - Technical Considerations: the equipment and techniques needed to get the shot. - Breaking the Rules: examples where the "rules" are brilliant subverted

The first anthology to address the rise of the "design-art" phenomenon—the breakdown of boundaries between art and architectural, graphic, or product design begun in the Pop and Minimalist eras.This reader in Whitechapel's Documents of Contemporary Art series investigates the interchange between art and design. Since the the Pop and Minimalist eras—as the work of artists ranging from Andy Warhol to Dan Graham demonstrates—the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and Art traces the rise of the "design-art" phenomenon through the writings of critics and practitioners active in both fields.The texts include writings by Paul Rand, Hal Foster, Miwon Kwon, and others that set the parameters of the debate; utopian visions, including those of architect Peter Cook and writer Douglas Coupland; project descriptions by artists (among them Tobias Rehberger and Jorge Pardo) juxtaposed with theoretical writings; surveys of group practices by such collectives as N55 and Superflex; and views of the artist as mediator—a role assumed in the past to be the province of the designer—as seen in work by Frederick Kiesler, Ed Ruscha, and others. Finally, a book that doesn't privilege either the art world or the design world but puts them in dialogue with each other.ContributorsDavid Bourdon, Peter Cook/Archigram, Douglas Coupland, Kees Dorst, Charles Eames, Experimental Jetset, Vilém Flusser, Hal Foster, Liam Gillick, Dan Graham, Clement Greenberg, Richard Hamilton, Donald Judd, Frederick Kiesler, Miwon Kwon, Maria Lind, M/M, N55, George Nelson, Lucy Orta, Jorge Pardo, Norman Potter, Rick Poynor, Paul Rand, Tobias Rehberger, Ed Ruscha, Joe Scanlan, Mary Anne Staniszewski, Superflex, Manfredo Tafuri, Rirkrit Tiravanija, Paul Virilio, Joep van Lieshout, Andy Warhol, Benjamin Weil, Mark Wigley, Andrea ZittelCopublished with Whitechapel Art Gallery, London

Lloyd Kaufman, the writer/producer/director of such cult-classic films as The Toxic Avenger, Class of Nuke 'Em High, and Tromeo and Juliet, offers a guide to movie-making unlike any other available anywhere. In 25 years, Kaufman, along with partner Michael Herz, has built Troma Studios up from a company struggling to find its voice in a field crowded with competitors to its current--and legendary--status as a lone survivor, a bastion of true cinematic independence, and the world's greatest collection of camp on film.As entertaining and funny as it is informative and insightful, Make Your Own Damn Movie! places Kaufman's radically low-budget, independent-studio style of filmaking directly in the reader's hands. Thus we learn how to: develop and write a knock-out screenplay; raise funding; find locations and cast actors; hire a crew; obtain equipment, permits, and music rights (all for little or no money); make incredible special effects for $0.79 each; charm, schmooze, and network while on the film-festival circuit; and, finally, make a bad actor act so bad it's actually good.From scriptwriting and directing to financing and marketing, this book is brimming with utterly off-the-wall, decidedly maverick, yet consistently proven advice on how to fully develop one's idea for an independent film.

The most authoritive, authentic text of a classic guide to actingIn the four decades since its first publication, Michael Chekhov's To the Actor has become a standard text for students of the theater. But To the Actor is a shortened, heavily modified version of the great director/actor/teacher's original manuscript, and On the Technique of Acting is the first and only book ever to incorporate the complete text of that brilliant manuscript. Scholars and teachers of Chekhov's technique have hailed On the Technique of Acting as the clearest, most accurate presentation of the principles he taught Yul Brynner, Gregory Peck, Marilyn Monroe, Anthony Quinn, Beatrice Straight, and Mala Powers, among others.This new, definitive edition of Chekhov's masterful work clarifies the principles outlined in To the Actor concerning the pivotal role of the imagination in actors' understanding of themselves and the roles they play. On the Technique of Acting also expands on Chekhov's previously published work with many unique features, including: Thirty additional exercisesA chapter devoted to screen actingMore thorough explanations of the Psychological Gesture, inner tempo vs. outer tempo, and other key concepts of Chekhov's approachFor actors, directors, and anyone interested in the theater, On teh Technique of Acting is an essential handbook.