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Secrets of Voodoo, by Milo Rigaud

Language Notes

Text: English, French (translation)

Read more

Product details

Paperback: 256 pages

Publisher: City Lights Publishers (January 1, 2001)

Language: English

ISBN-10: 0872861716

ISBN-13: 978-0872861718

Product Dimensions:

5.5 x 0.6 x 8 inches

Shipping Weight: 9.6 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

47 customer reviews

Amazon Best Sellers Rank:

#90,638 in Books (See Top 100 in Books)

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Arthur Brown Jr. (1874-1957) is one of the most important, yet underpublished, architects of the twentieth century.

Celebrated by his peers for such masterpieces as the City Hall, War Memorial Opera House, Temple Emanu-El, and Coit Tower in San Francisco; the Pasadena City Hall; and the Labor-ICC block of the Federal Triangle in Washington, DC, Brown epitomized the idea that architecture not only houses society’s daily rituals and defining events but also can itself shape the sociopolitical landscape of America. Arthur Brown Jr.: Progressive Classicist, the first full study of Brown within his architectural and social context, unifies the varied strands of the architect’s life, from the architectural forms and methods of the Ecole des Beaux-Arts in Paris to the reforming spirit and self-reliant confidence of San Francisco after the earthquake and fire of 1906 to the challenging economics and changing aesthetics of machine-age America. It details the development of Brown’s major works and many other civic, commercial, religious, academic, and residential buildings. It chronicles his unflagging commitment to the classical tradition, which he employed in contemporary, forward-looking institutional buildings that emphasized continuity with the past while meeting the needs of the future. To Brown, the classical tradition was not a sacrosanct, unchanging body of knowledge; it was an expanding and evolving set of ideas about architectural design that permitted, and even demanded, change as new conditions and technologies were developed. Arthur Brown Jr. is a fascinating look at the man-captivated by the classical movement and obsessed with the slightest architectural detail-and at his buildings, at once canonical and inventive and singularly American. 30 color 200 b/w photos

  • Sales Rank: #1856323 in Books
  • Published on: 2005-12-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.30" h x 1.10" w x 8.90" l, 2.63 pounds
  • Binding: Hardcover
  • 320 pages

Review
“[C]onsummate text and…lavish yet functional production…[W]ill go far to restore a significant episode in American architectural culture…Recommended.” (R. W. Liscombe - Choice)

About the Author
Jeffrey T. Tilman is an assistant professor at the School of Architecture and Interior Design at the University of Cincinnati, where he teaches architectural history, design, and historic preservation. He holds a Ph.D. from the University of Virginia, and is an architect, registered in California.

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  • Sales Rank: #46905 in Audible
  • Published on: 2013-12-30
  • Format: Unabridged
  • Original language: English
  • Running time: 450 minutes

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  • Sales Rank: #1586754 in Books
  • Published on: 2011-07-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .79" w x 5.98" l, 1.13 pounds
  • Binding: Paperback
  • 384 pages

About the Author
School of Information and Library Science, University of North Carolina at Chapel Hill

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  • Sales Rank: #833634 in eBooks
  • Published on: 2015-02-18
  • Released on: 2015-02-18
  • Format: Kindle eBook

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This major revision updates Wayne Hughes's 1986 landmark study that is credited with providing decision makers a sound foundation for battle planning and tactical thinking. The book integrates the historical evolution of tactics, analysis, and fleet operations, and today it can serve as a primer for anyone who wants to learn how navies fight and win. This second edition includes much new material on combat in the missile age and reflects the reconfiguration of many tactics for littoral operations after the fall of the Soviet Union.
Hughes recreates famous battles to show how tactics have changed through the ages and the ways in which they have remained unchanged. He covers tactical interaction between land and sea, the sensory revolution of WWII, secret weapons and maritime surprise, the role in battle of leadership and morale, and the importance of surface warships in today's U.S. fleet. He suggests that naval tactics, unlike ground combat, are dominated by the offense and concludes that the great tactical maxim must be attack effectively first.

A new chapter traces the evolution of missile tactics at sea and includes details of attacks on ships. Many changes emphasize joint operations and coastal combat. The already extensive appraisal of command and control and information warfare is further expanded to cover modern naval operations and the character of modern salvo warfare. In the tradition of Mahan and Clauswitz, this classic text incorporates literature, politics, and a knowledge of human nature. Indispensable reading for all those interested in naval tactics, it is also a valuable reference for wargamers

  • Sales Rank: #246835 in eBooks
  • Published on: 2014-08-01
  • Released on: 2014-08-01
  • Format: Kindle eBook

About the Author
Capt. Wayne P. Hughes Jr., USN (Ret.) is professor emeritus at the Graduate School of Operations and Information Sciences of the Naval Postgraduate School in Monterey, California. Author of Fleet Tactics and Coastal Combat Second Edition, as well as numerous articles, he is renowned as one of the foremost authorities on naval tactics.

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Free PDF Celluloid HC, by Dave McKean

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Celluloid HC, by Dave McKean

Celluloid HC, by Dave McKean


Celluloid HC, by Dave McKean


Free PDF Celluloid HC, by Dave McKean

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Celluloid HC, by Dave McKean

Review

“The visionary art director behind The Sandman’s covers creates a coital masterwork that elicits beauty and excitement in equal measure.... Celluloid is a treasure of technical finesse and sensual mystique that transcends its potential controversy.” - Sean Edgar, Paste“A decidedly adult erotica graphic novel with no dialogue, this is the famed Sandman cover artist going at page after page of a sexy hallucination, whipped up by a magic porno movie projector. Dreamscapes with boners.” - Cyriaque Lamar, io9“Dave McKean’s art never fails to amaze me... I’ll never look at a fig, a pear, or a red tomatillo the same way again. ...I think this would make a good paper anniversary gift.” - Gene Ambaum, The Unshelved Book Club

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About the Author

Dave McKean is an illustrator of books and comics, and a maker of films. His graphic novel Cages was recently re-released by Dark Horse Comics. He lives in Kent, England, with a wife, many fish, some millipedes and two children.

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Product details

Hardcover: 232 pages

Publisher: Fantagraphics Books; 1st edition (June 14, 2011)

Language: English

ISBN-10: 1606994409

ISBN-13: 978-1606994405

Product Dimensions:

7 x 0.9 x 9.2 inches

Shipping Weight: 1.7 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

11 customer reviews

Amazon Best Sellers Rank:

#507,862 in Books (See Top 100 in Books)

Very abstract book without words. You pretty much have to use your imagination to create a story. The art style is unique. Not a children's book, but I didn't think it was too erotic.

There are very few living artists today who I would use the term 'Renaissance Man' to describe. Clive Barker, for example - imaginative writer, visionary artist, dabbler in theatre and film. Dave McKean is another - painter, designer, filmmaker - and his graphic novel 'Celluloid' is one more reason (among many) why.'Celluloid' is McKean's exploration into the realm of erotic fiction, and typical of McKean's work, he does so with an eye to the fantastic and the strange. This tale of a woman who walks through a doorway created by a film projection into world after world of sexual experience, featuring impossible anatomies and unexpected scenarios, is not your typical erotic story. McKean takes a somewhat trite setup and turns it into something adventurous and new.And amazingly, he does it without words.'Celluloid' is told completely through McKean's stunning images - sometimes photographs, sometimes painting, sometimes collage, sometimes just a few sketched lines...often a blending of all of these. McKean as a visual stylist is unmatched, and he brings all his different talents to bear here.Whether it's depicting a shadowy, faceless man dominating his masked partner, or coupling with a woman with grapes for hair and a dozen breasts, or intimate explorations of hands and fingers and skin, McKean's images bring new life to the familiar. What the imagery sometimes lacks in narrative drive it makes up for in powerful impressions and sensations of sexuality.'Celluloid' is sexually graphic without being pornographic, both sensual and sexual, a study in the exploration of the different forms of passion. It's something kind of magical to do all this in the graphic novel art form, and nobody but Dave McKean could pull it off quite like this.

Came on time and was exactly as described, thanks guys!

Dave McKean (the artist behind "Batman: Arkham Asylum" and "Mr. Punch") is one of my favorite modern artists and his comic book works are astonishingly beautiful and haunting. His unique visual sensibility makes this text-less graphic erotica completely original. In terms of wordless graphic novels, I've only read a few and this one is intriguing since it incorporates fantasy elements with reality and with no textual explanation. Like all of his work it is wondrously imaginative and slightly unnerving, yet in a way that is never gratuitously titillating or disturbing, at least not by my own standards."Celluloid" is a work of art that creatively explores rather than cheaply exploits human sexuality. Whether it will be viewed as such or not remains to be seen, but this is indeed a groundbreaking effort in a medium that is still perceived by many to be just for kids. To have erotica available within such a medium could be potentially very controversial, but it could also be an important stepping stone along the path to cementing the fact that graphic literature isn't just for children; that it can be artful, complex, and as adult-oriented as any other storytelling media.The book, which is 232 pages, reads (or views rather, since there is no text) very quickly as a work of erotica should and I found that instead of examining each page and the details of the artwork for a long duration, I went through it quickly. I then read/viewed it again. In some ways, the experience of reading the book was similar to that of watching an old silent film, which may very well have been intentional as McKean has stated numerous times that he loves old European silent films and that they were an early influence on his visual style. (In fact McKean is currently working on an evocative series of multi-media paintings entitled "Nitrate" which are an homage to some of the masterpieces of the early cinema. Some of these paintings have been on display as part of the Nitrate + Kinogeists exhibitions, the catalogs of which can be found here and here.)The story tells the tale of a woman who becomes disappointed when the man she lives with isn't able to come home and make love to her because he's busy with work. So, she resorts to taking a bath and then pleasuring herself on the sofa. But she ends up finding a film projector and curiosity takes hold of her. As the images begin to explode on the wall she realizes that the film is of a sexual nature but before she can absorb the details of the film the reel burns out and in the place of the projection is a set of ornate doors leading into another world. She walks through them and finds herself in a strange, somewhat eerie, and very sexual fantasia where people make love in public view. The woman comes across numerous film projectors in this strangely sensual world and with each viewing of the film she is transported to another locale where she makes love to a startling vivid and intriguingly bizarre character. During these sexual encounters she makes love to a woman with fourteen breasts and grape vines for hair, a very well endowed demon whom she satiates orally, and then finally a benevolent shadowy figure who emerges from a vulva-like structure in the ceiling.Meanwhile the woman's lover back in the real world comes home to their apartment and discovers the film projector and plays the reel of film... at which point it is revealed that the couple having sex in the film is the woman he lives with and the shadowy figure. Their eyes lock and the question remains: is this reality or is this a dream? And if so, whose dream is it, his or hers?Regarding the art, the book encompasses many styles that shift and flow seductively from stylized photography to expressionistic pastel drawings, from colorful surrealist paintings to simplistic sepia-toned illustrations. In fact, from a critical standpoint, some of the pictures are gorgeous and would be welcome additions to modern art museums as stand-alone works.McKean was smart to label the book as pornography since many of the images are indeed very graphic in their anatomical depictions of sexual behavior ranging from voyeurism to masturbation, from oral sex to intercourse. Despite their vivid imagery and provocative nature, I never found them to be disturbing or vulgar (though others will have a different reaction, I'm sure).Normally, I have little to no interest in pornography or explicitly graphic erotica (although I do love John Cleland's "Fanny Hill: Memoirs Of A Woman of Pleasure" and the illustrations of French artist Édouard-Henri Avril). But I consider this to be a mature and artistic approach to the subject matter and at no point did it seem to denigrate sexuality, or devolve to purely exploitative depictions of either gender, nor does it wreak of the overtly misogynistic commercialism of more mainstream - if that word can be applied - erotica and pornography. This work isn't exploitative smut to be viewed at with shame. It's a celebratory expression of mutual pleasure; a sensual reverie to be shared.

This is a hard one to review. Artistically, CELLULOID is a lovely collection of McKean's work. I enjoy the wide range of styles used throughout the graphic novel, and although I am an avid fan of his "sketchy" style admit to being a little saddened that there are not more fully realized paintings throughout. I believe the stylistic variance and choices to be intentional to how the story is told however, and do not see it as detrimental to the book.There is indeed no dialogue or text as other reviews have pointed out, which does not really bother me. I find the story easy enough to follow, and knew pretty much what I was getting into before purchasing the book (I mainly wanted the art). I will say this though: CELLULOID is not the brilliant and tragically under-appreciated CAGES, and nor should they be compared. McKean is not trying to achieve the same thing with this story; as to what he endeavors to do here, well, that is subjective and in the eye of the beholder. I have actually enjoyed reading reviews of the graphic novel far more than the graphic novel itself, as they have been varied and interesting.So, in short: CELLULOID is lovely to look at, a treat for fans of McKean's artwork. The story is interesting but not groundbreaking, which is not a weakness. Any pleasure garnered from this graphic novel will, like most things, depend on what the reader brings to the table. As an art collection, highly recommended. As a comic narrative, worth having a look and discussing.

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Celluloid HC, by Dave McKean PDF