"The Humanities through the Arts, tenth edition, explores the humanities with an emphasis on the arts. Examining the relationship of the humanities to values, objects, and events important to people is central to this book. We make a distinction between artists and other humanists: Artists reveal values, while other humanists examine or reflect on values. We study how values are revealed in the arts while keeping in mind a basic question: "What is art?" Judging by the existence of ancient artifacts, we see that artistic expression is one of the most fundamental human activities. It binds us together as a people by revealing the most important values of our culture"--

Through the presentation of nine different arts and humanities topics, such as architecture and design, literature, religion, and visual arts, this volume describes Renaissance Europe, from 1300 to 1600.

Humanities Through the Arts, ninth edition, continues to explore the humanities with an emphasis upon the arts as an expression of cultural and personal values, examining the relationship of the humanities to important values, objects and events. The book is arranged topically by art form from painting, sculpture, photography, and architecture to literature, music, theater, film, and dance. Four major pedagogical boxed features enhance student understanding of the genres and of individual works within the genres: Perception Key boxes, Conception Key boxes, Experiencing boxes, and new Focus On boxes. Intended for introductory-level, interdisciplinary courses offered across the curriculum in the Humanities, Philosophy, Art, English, Music, and Education departments, this beautifully illustrated text helps students learn how to actively engage a work of art.

This inspirative and hopeful collection demonstrates that the arts and humanities are entering a renaissance that stands to change the direction of our communities. Community leaders, artists, educators, scholars, and professionals from many fields show how they are creating responsible transformations through partnership in the arts and humanities. The diverse perspectives that come together in this book teach us how to perceive our lives and our disciplines through a broader context. The contributions exemplify how individuals, groups, and organizations use artistic and humanistic principles to explore new structures and novel ways of interacting to reimagine society. They refresh and reinterpret the ways in which we have traditionally assigned space and value to the arts and humanities.

A book for anyone who wants to learn programming to explore and create, with exercises and projects to help the reader learn by doing. This book introduces programming to readers with a background in the arts and humanities; there are no prerequisites, and no knowledge of computation is assumed. In it, Nick Montfort reveals programming to be not merely a technical exercise within given constraints but a tool for sketching, brainstorming, and inquiring about important topics. He emphasizes programming's exploratory potential—its facility to create new kinds of artworks and to probe data for new ideas. The book is designed to be read alongside the computer, allowing readers to program while making their way through the chapters. It offers practical exercises in writing and modifying code, beginning on a small scale and increasing in substance. In some cases, a specification is given for a program, but the core activities are a series of “free projects,” intentionally underspecified exercises that leave room for readers to determine their own direction and write different sorts of programs. Throughout the book, Montfort also considers how computation and programming are culturally situated—how programming relates to the methods and questions of the arts and humanities. The book uses Python and Processing, both of which are free software, as the primary programming languages.

The case studies in this book illuminate how arts and humanities tropes can aid in contextualizing Digital Arts and Humanities, Neogeographic and Social Media activity and data through the creation interpretive schemas to study interactions between visualizations, language, human behaviour, time and place.

Digital traces, whether digitized (programs, notebooks, drawings, etc.) or born digital (emails, websites, video recordings, etc.), constitute a major challenge for the memory of the ephemeral performing arts. Digital technology transforms traces into data and, in doing so, opens them up to manipulation. This paradigm shift calls for a renewal of methodologies for writing the history of theater today, analyzing works and their creative process, and preserving performances. At the crossroads of performing arts studies, the history, digital humanities, conservation and archiving, these methodologies allow us to take into account what is generally dismissed, namely, digital traces that are considered too complex, too numerous, too fragile, of dubious authenticity, etc. With the analysis of Merce Cunningham’s digital traces as a guideline, and through many other examples, this book is intended for researchers and archivists, as well as artists and cultural institutions.

By dwelling on the need for the convergence of business, innovation and the arts, this book highlights the value of lowering the psychological, organizational and institutional barriers that keep them apart. For educators and practitioners, this is an in-depth discussion designed to stimulate awareness of the issues facing business education.