This volume brings together data collected from both previously published surveys and new data collected using satellite imagery on the architecture and construction of over 2,400 rural structures in nine different regions of Tripolitania and dating between the 1st c. BC and the 7th c. AD. This first part contextualises the material within the historical background of Tripolitania, previous investigations and methodological foundations, the evidence for pre-Roman architectures and settlement, and the chronology of rural settlement during the period under study based on ceramic evidence. The second part presents quantitative and qualitative analyses of the physical characteristics first of Roman military structures, and then of the main group of buildings under investigation: unfortified and fortified farm buildings. The ways in which different spaces may have been utilised and the spatial relationships between the settlement groups formed by these buildings provide insight into how and why different types of buildings developed in the countryside during between the 1st c.

Mariele Neudecker is a German-born, Bristol-based artist working at the crossover of art and science. Her multimedia practice, which incorporates sculpture, video, painting and sound, explores the processes and effects of perception, the complexities and contradictions of landscapes and visuality, and the politics of representation and territorialisation. The influence of the nineteenth-century German romantic sublime is interwoven alongside inspiration from Neudecker’s work with scientists, as a guest artist on the Arts at CERN programme, her trips to the Arctic and travel elsewhere. This major monograph, published following an exhibition of the same name at Limerick City Gallery of Art – Neudecker’s first comprehensive solo exhibition in Ireland - presents more than 200 works from a 35-year-long career. In addition to a foreword by Úna McCarthy, the gallery's Director and Curator, essays by distinguished academics and curators from across the fields of art and science address diverse areas of Neudecker’s practice. A 'timeline' that Neudecker made specially for 'SEDIMENT' concludes the publication. Greer Crawley, an Honorary Research Fellow in the Department of Drama, Theatre and Dance at Royal Holloway, University of London, considers Neudecker’s archive, studio and her working processes, while Ariane Koek, an international expert in the field of arts, science and technology, suggests that the contemporary sublime Neudecker is so often described as seeking is, for her, the very process of perception itself. Her comprehensive introduction to Neudecker’s practice also discusses the tank works, for which the artist is best known, in which fibreglass landscapes are suspended in chemical solutions. James Peto, from the Wellcome Collection, London, focuses on issues of representation, post-colonialism and ‘time’, while Alice Sharp, Artistic Director of Invisible Dust, looks at Neudecker’s work and collaborations concerning the deep sea. Klaus Dodds, Professor of Geopolitics at Royal Holloway, University of London, returns to questions of territorialisation in and around the Arctic, and Professor Kerstin Mey, Interim President of the University of Limerick, considers the genre of still life in Neudecker’s photographic series 'Plastic Vanitas' (2015). Dominic Gray, Projects Director at Opera North, offers insight into Neudecker’s work with sound and music, addressing issues of performance, translation and scale; while Pontus Kyander, an independent writer and curator based in Helsinki, returns to the motif of the forest, arguing that any reading of Neudecker's work might be taken beyond an interest in landscape and the sublime to incorporate contemporary ecological questions. Finally, Crawley's second offering returns to Neudecker's use of sound - its juxtaposition and superimposition, alongside the notion of the window as a device, considering how each creates 'temporal turbulences' and 'an entanglement of materiality, space, form and position,' foregrounding the artist’s desire for viewers to see everything as eternally in flux. The publication, which is released to coincide with a new iteration of Neudecker's exhibition 'SEDIMENT' at Hestercombe, Somerset, in summer 2021, has been edited by Greer Crawley, designed by Herman Lelie and Stefania Bonelli, and printed by EBS Verona. It is published by Anomie Publishing, London. Mariele Neudecker (b. 1965, Dusseldorf, Germany) undertook a BA at Goldsmiths College, London (1987–90), and an MA in sculpture at Chelsea College of Art and Design, London (1990-1). She has shown widely in international solo and group exhibitions. Neudecker is Professor of Fine Art at Bath School of Art, where she runs the research cluster Making | Art | Science | Environment. She is on the Arts at CERN’s guest programme, the European Commission’s JRC SciArt advisory panel and the steering committee of Centre of Gravity, UK. Neudecker works with Pedro Cera, Lisbon; In Camera Gallery, Paris; and Thomas Rehbein Galerie, Cologne.

During the past thirty years, there has emerged throughout America a new kind of urban vision that blends residential/suburban development with large-scale commercial centers. Rolling farmland and country estates that used to surround towns and cities have given way to vast housing developments that feature nearly identical, hastily built mini-mansions with enormous garages and fancy yards. These are the new bedroom communities for middle-class Americans who commute to urban America where the jobs are. For the first time, these residential enclaves are linked to big-box shopping complexes where traditional Main Streets of yore have been eclipsed by malls known as “lifestyle centers” filled with national chains whose commercial architecture is a blend of multiple historic periods and styles that create a fanciful display but have no relation to regional traditions. Behind this imagined past era of luxurious consumerism is a ubiquitous culture based on global marketing in which homogenization and conformity have won over the American dream and created a new kind of American heartland. Andrew Borowiec is the first photographer to provide a comprehensive vision of this new American landscape. He directs our attention toward how such development has evolved in his home state of Ohio, a longstanding bellwether for American tastes and values whose citizens have voted for every winning candidate in a presidential election but one since 1944. It's also the place where fast-food companies test-market new products and the place where chewing gum, Teflon, and the first airplane, cash register, gas-powered automobile, traffic signal, and vacuum cleaner were invented. Even the state's Division of Travel and Tourism has long relied on “Ohio, the Heart of It All” as its popular motto to attract visitors to the state. Andrew Borowiec's work follows in the tradition of other legendary photographers who so keenly interpreted land and life in America—among them Walker Evans, Robert Frank, Robert Adams, Frank Gohlke, and other New Topographics photographers. He has used his keen eye and extensive fieldwork to give us a fresh, humorous, and razor-sharp view of what is happening in America today. There is a new heartland, representing a new American dream, and it can be found in the new residential and commercial landscapes of Ohio and the rest of America, if we choose to open our eyes and take a look.

Plains Indian ledger art grew out of the Native tradition of recording and chronicling through art important exploits by warriors and chiefs, among them images of war and hunting, that would adorn tipis and animal hides. These were seen as historical markers. But Native life on the Great Plains underwent tremendous change following the American Civil War, when the American conquest of the West was in full gear. In just a few decades, access to the hides of diminishing herds of bison, deer, antelope, and elk became more difficult and eventually impossible with reservation life. Native people creatively turned to the easily available ledger books of settlers, traders, and military men as their new canvases. The ledger art drawings of the late nineteenth and early twentieth centuries are revered today for their depiction of Native life during the difficult transition to life on the reservation. The ledger drawings thus became a singularly important way for Native artists to preserve tribal history and to serve as a new kind of personal socio-political expression. Dwayne Wilcox, who grew up on the Pine Ridge Reservation and is a member of the Oglala Lakota Nation, became interested in ledger art at an early age. He was influenced by the work of Lakota ledger artists such as Amos Bad Heart Bull (1869-1913), but he always sought to defy stereotypical notions of Native life and history and create his own artistic vision. Dwayne eventually focused on humor as his way to comment on the objectification of Native Americans. Skilled as an artist beyond measure, Dwayne’s ledger art drawings win major prizes and are sought by museums and collectors who see in him a true artist. Visual/Language is Dwayne’s first book, and it was created as a collaborative effort with curator Karen Miller Nearburg, who provides an enlightening introduction to his work. This book will surely penetrate the heart and soul and mind of all who read it.

Journey of the Mind is the first publication from Without Shape Without Form (WSWF), an arts organisation and arts space established in 2017 by volunteers from the Guru Maneyo Granth Gurdwara (GMGG) in Slough, England. WSWF is the UK’s first, and currently only, permanent Sikh art gallery. The publication has been created as an illustrated introduction to the history, stories and teachings of Sikhism. The Gurus - the teachers of the Sikh faith - shared a message of kindness, equality and inclusivity, helping all humanity find peace in troubled times and connect with truth through the journey of the mind. We live in difficult times. Many people struggle with hectic schedules and constant pressure from a busy world in which we are always connected through digital media but are somehow less connected to each other in real life. The impact of Covid-19, and the constant worry and isolation that many of us experienced, have left their mark on our mental health. On top of this, concern for the health of our planet and social injustice have left some feeling hopeless. The mission of the Gurus was supported by brave and inspiring warriors who, following the teaching of the Gurus, devoted their minds to Waheguru (the Creator) and found peace in the face of adversity. The last Guru, Sri Guru Granth Sahib Ji, is not a person, but a collection of texts embodying the teachings of Sikhism, accessible to everyone, for all time. Journey of the Mind shares the wisdom of these texts, including excerpts in the original Gurmukhi, Punjabi. Digital paintings by world-renowned Sikh artist Kanwar Singh illustrate the stories of those who attained the highest spiritual levels, which gave them the clarity and foresight to see all as one. In today's frenetic, turbulent world, the message of the Gurus is more relevant than ever - we have everything we need within us to achieve peace. It is the ambition and hope of WSWF that people will be inspired by these words to embark on their own journey of the mind. Journey of the Mind is a publication and travelling exhibition by Without Shape Without Form. The book has been designed and produced by Herman Lelie. It is co-published by Without Shape Without Form and Anomie Special Projects, London.

Horror films. Deanna Durbin musicals. Francis the talking mule. Ma and Pa Kettle. Ross Hunter weepies. Theme parks. ET. Apollo 13. These are only a few of the many faces of Universal Pictures. In February 1906 Carl Laemmle, German immigrant and former clothing store manager, opened his first nickelodeon in Chicago. He quickly moved from exhibition to distribution and to film production. A master of publicity and promotions, within ten years "Uncle Carl" had moved his entire operation to southern California, founded a city, and established Universal Pictures as one of the major Hollywood studios. In time Universal found its niche in horror films featuring Karloff and Lugosi, comedies starring Abbott and Costello and W.C. Fields, and low-budget musicals. But Carl Laemmle Jr. proved less adept than his father at empire building. Eventually he was forced out by financial difficulties, opening the way for a string of studio heads who entered and exited one after another. Thus the age of corporate Hollywood arrived at Universal Pictures earlier than at other studios. The Universal-International merger in 1946, Decca's stock takeover in the early 1950s, and MCA's buyout in 1962 all presaged today's Hollywood, where the art of the deal often eclipses the art of making movies. Stars and executives have come and gone, shaping and reshaping the studio's image, but through it all Universal's revolving globe logo has remained on movie screens around the world. And, unlike several other studios of Hollywood's golden age, Universal still makes movies today.

An exploration of ethical dynamism in vocal life Ways of Voice is the first ethnomusicological monograph to delve deeply into the diverse, variegated techniques of voice production in North India. It explicitly thematizes the dynamic movement between vocal dispositions—singers who consciously retrain themselves in order to acquire a different voice, focusing on the ways in which singers not only "have" voice, but actively acquire, cultivate and contest particular vocal dispositions. The book deals extensively with the formation and contestation of particular, historically grounded ways of voice, from Bollywood film singers to modern raga vocality to pop Sufi song. Working from dozens of concrete examples, it fills an important gap both in South Asian ethnomusicology and in the emerging field of voice studies. Audio and video examples are provided on the online companion site.

As one of the first voices of the University of Kentucky men's basketball program, Claude Sullivan (1924-1967) became a nationally known sportscasting pioneer. His career followed Kentucky's rise to prominence as he announced the first four NCAA championship titles under Coach Adolph Rupp and covered scrimmages during the canceled 1952-1953 season following the NCAA sanctions scandal. Sullivan also revolutionized the coverage of the UK football program with the introduction of a coach's show with Bear Bryant - a national first that gained significant attention and later became a staple at other institutions. Sullivan's reputation in Kentucky eventually propelled him to Cincinnati, where he became the voice of the Reds, and even to the 1960 Summer Olympic Games in Rome.In Voice of the Wildcats: Claude Sullivan and the Rise of Modern Sportscasting, Claude's son Alan, along with Joe Cox, offers an engaging and heartfelt look at the sportscaster's life and the context in which he built his career. The 1940s witnessed a tremendous growth in sportscasting across the country, and Sullivan, a seventeen year old from Winchester, Kentucky, entered the field when it was still a novel occupation that was paving new roads for broadcast reporting. During the height of his career, Sullivan was named Kentucky's Outstanding Broadcaster by the National Association of Sportscasters and Sportswriters for eight consecutive years. His success was tragically cut short when he passed away from throat cancer at forty-two.Featuring dozens of interviews and correspondence with sports legends, including Wallace "Wah Wah" Jones, Babe Parilli, Cliff Hagan, Ralph Hacker, Jim Host, Billy Reed, Adolph Rupp, and Cawood Ledford, this engaging biography showcases the life and work of a beloved broadcast talent and documents the rise of sports radio during the twentieth century.

The recent $3.4 billion purchase of Columbia Pictures by Sony Corporation focused attention on a studio that had survived one of Hollywood's worst scandals under David Begelman, as well as ownership by Coca-Cola and David Puttnam's misguided attempt to bring back the studio's glory days. Columbia Pictures traces Columbia's history from its beginnings as the CBC Film Sales Company (nicknamed "Corned Beef and Cabbage") through the regimes of Harry Cohn and his successors, and concludes with a vivid portrait of today's corporate Hollywood, with its investment bankers, entertainment lawyers, agents, and financiers. Bernard F. Dick's highly readable studio chronicle is followed by thirteen original essays by leading film scholars, writing about the stars, films, genres, writers, producers, and directors responsible for Columbia's emergence from Poverty Row status to world class. This is the first attempt to integrate film history with film criticism of a single studio. Both the historical introduction and the essays draw on previously untapped archival material - budgets that kept Columbia in the black during the 1930s and 1940s, letters that reveal the rapport between Depression audiences and director Frank Capra, and an interview with Oscar-winning screenwriter Daniel Taradash. The book also offers new perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, From Here to Eternity, On the Waterfront, Anatomy of a Murder, Easy Rider, Taxi Driver, The Big Chill, Lawrence of Arabia, and The Last Emperor. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures includes a brief chronology and a complete 1920-1991 filmography. Designed for both the film lover and the film scholar, the book is ideal for film history courses.

Ben Hecht called him "White Fang," and director Charles Vidor took him to court for verbal abuse. The image of Harry Cohn as vulgarian is such a part of Hollywood lore that it is hard to believe there were other Harry Cohns: the only studio president who was also head of production; the ex-song plugger who scrutinized scripts and grilled writers at story conferences; a man who could look at actresses as either "broads" or goddesses. Drawing on personal interviews as well as previously unstudied source material (conference notes, memos, and especially the teletypes between Harry and his brother Jack), Bernard Dick offers a radically different portrait of the man who ran Columbia Pictures - and who "had to be boss" - from 1932 to 1958.

This provocative study traces Alfred Hitchcock's long directorial career from Victorianism to postmodernism. Paula Cohen considers a sampling of Hitchcock's best films - Shadow of a Doubt, Rear Window, Vertigo, Psycho - as well as some of his more uneven ones - Rope, The Wrong Man, Topaz - and makes connections between his evolution as a filmmaker and trends in the larger society.Drawing on a number of methodologies including feminism, psychoanalysis, and family systems, the author provides an insightful look at the paradox of a Victorian-style gentleman who evolved into one of the leading masters of the modern medium of film. Cohen sees Hitchcock's films as developing, in part, as a masculine response to the domestic, psychological novels that had appealed primarily to women during the Victorian era. His career, she argues, can be seen as an attempt to balance "the two faces of Victorianism": the masculine legacy of law and hierarchy and the feminine legacy of feeling and imagination. Also central to her thesis is the Victorian model of the nuclear family and its permutations, especially the father-daughter dyad. She postulates a fundamental dynamic in Hitchcock's films, what she calls a "daughter's effect," and relates it to the social role of the family as an institution and to Hitchcock's own relationship with his daughter, Patricia, who appeared in three of his films. Cohen argues that Hitchcock's films reflect his Victorian legacy and serve as a map for ideological trends. She charts his development from his British period through his classic Hollywood years into his later phase, tracing a conceptual evolution that corresponds to an evolution in cultural identity - one that builds on a Victorian inheritance and ultimately discards it.

Theorizing the experiences of black and brown bodies in hip hop dance Baring Unbearable Sensualities brings together a bold methodology, an interdisciplinary perspective and a rich array of primary sources to deepen and complicate mainstream understandings of Hip Hop Dance, an Afro-diasporic dance form, which have generally reduced the style to a set of techniques divorced from social contexts. Drawing on close observation and interviews with Hip Hop pioneers and their students, Rosemarie A. Roberts proposes that Hip Hop Dance is a collective and sentient process of resisting oppressive manifestations of race and power. Roberts argues that the experiences of marginalized black and brown bodies materialize in and through Hip Hop Dance from the streets of urban centers to contemporary worldwide expressions. A companion web site contains over 30 video clips referenced in the text.

How NEA funding policies have shaped the field of dance Funding Bodies is the first scholarly study of NEA to focus specifically on dance. It departs from a choreographic question: How have federal grant guidelines rewarded specific patterns of dance practice and production? Drawing upon archival documentation of NEA narratives, program eligibility guidelines, and standards of evaluation as well as testimony from past and present insiders, Wilbur's work theorizes endowment as an economic and practical struggle by people with differential power and competing investments in the production and professionalization of dance. With a wealth of detail and previously untold stories, this institutional history brings clarity to the complex processes that underlie the continuing struggle to achieve equitable resource distribution and parity of opportunity in American dance. An online teaching guide is available.

Throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed "excessively lustful" kissing from the screen and ensured that no criminal went unpunished. During their review of Hitchcock's films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca (1940), absolved Cary Grant of guilt in Suspicion (1941), edited Cole Porter's lyrics in Stage Fright (1950), decided which shades should be drawn in Rear Window (1954), and shortened the shower scene in Psycho (1960). In Hitchcock and the Censors, author John Billheimer traces the forces that led to the Production Code and describes Hitchcock's interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming - and occasionally tricking - the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock's priorities in dealing with the censors, this work highlights the director's theories of suspense as well as his magician-like touch when negotiating with code officials.

An ethnography about local working musicians in Brazil's "most African" city Living from Music in Salvador examines the labor of musicians in Salvador da Bahia, widely regarded as Brazil's most African city. Drawing on fieldwork that spans over sixteen years, the book explores local musicians' lives as members of a flexible work force, emphasizing questions of race, social class, and cultural politics in relation to professional music making. From clubs and restaurants, to Carnaval parades and festival celebrations, to concert stages and recordings, the abiliy of musicians to earn a living wage is contingent on their navigating industry and societal conditions that are profoundly informed by the entrenched legacies of colonization and slavery.

Photography and meditation are known to facilitate reflection and introspection. They teach us to see both the outer world and the mysterious landscape within. In Nowhere in Place, photographer Christopher Jordan explores the meeting place between meditation and photography and how this mirroring of outer and inner worlds plays upon both the surface of his consciousness and the sensor of his digital camera. Before Jordan ventures outside to make pictures, he spends time in quiet meditation. This is an important process of switching gears from the everyday noise of the cluttered mind to a more serene state of awareness. This reset allows Jordan to see the world in fresh ways, appreciating overlooked details that might escape a mind preoccupied with business-as-usual. The book starts in Tuscaloosa, where Jordan lives. For many, T-town is a place of Southern charms and Alabama football, but, for Jordan, it becomes a visual play of textures, colors, and abstract planes with nary a person in sight. The pictures reveal a placeless solitude within the frame of his camera. The book moves west to Boulder, another college town, where his contemplative eye continues to fix upon unusual shapes, colors, and textures while intersecting with an occasional figure. The book reaches full bloom in India, where the interplay between inner and outer landscapes knows no bounds, as his camera reveals a kaleidoscopic interplay of people, places, and things. Within each locale, Jordan photographed “nowhere” in particular, because, for him, the photograph becomes a place of its own being: a sanctuary for meditation, a record of what is seen and heard and felt, an opportunity to see a place and an image right now. For Jordan, the photograph is a medium of meditation and transcendence, providing a point of intersection where one recognizes our shared, common humanity.