The Picasso Paradigm

Reporter David Hirsch enjoys the good New York life - a great job, a beautiful, accomplished lover, and the excitement of the city. Until he begins digging into a story about the world's leading computer chip manufacturer. A relentless journalist, Hirsch discovers a complex stock and murder plot by the electronics industry's philosopher-king and his sex-starved wife to steal the next generation of computer chips. When Hirsch discovers too much, he risks becoming one more in a string of strangely brutal murders - despite the desperate investigation of an over-the-hill New York detective. The Picasso Paradigm's fast-paced action moves through today's high-tech world, from the financial sector and Silicon Valley to the new technology that could alter the world, to its surprising conclusion.

This issue investigates the meaning of photographic image for contemporary art. In Malraux' dream, photography offers the ultimate guarantee for a coherent presentation of art. However, as Douglas Crimp has stated, the appearance and enhancement of photography as a form of art among other art forms disrupted the center of the art world. What does this mean for art and philosophy in our time? Various artists and theorists will delve into that question: Christian Boltanski, Benjamin H.D. Buchloh, Jean-François Chevrier, Douglas Crimp, Jos de Mul, Mirjam de Zeeuw, Rineke Dijkstra, Michael Gibbs, Rodney Graham, Gerald van der Kaap, Karen Knorr, Zoe Leonard, Ken Lum, Hermann Pitz, Liza-May Post, John Roberts, Allan Sekula, Andres Serrano, Jan Simons, Beat Streuli, John M. Swinnen, Renée van de Vall, Hilde van Gelder, Hripsimé Visser, Jeff Wall, Ian Wallace and Herta Wolf.

One of The Christian Science Monitor’s Best Nonfiction Books of 2018 “An engrossing read…a historically and psychologically rich account of the young Picasso and his coteries in Barcelona and Paris” (The Washington Post) and how he achieved his breakthrough and revolutionized modern art through his masterpiece, Les Demoiselles d’Avignon. In 1900, eighteen-year-old Pablo Picasso journeyed from Barcelona to Paris, the glittering capital of the art world. For the next several years he endured poverty and neglect before emerging as the leader of a bohemian band of painters, sculptors, and poets. Here he met his first true love and enjoyed his first taste of fame. Decades later Picasso would look back on these years as the happiest of his long life. Recognition came first from the avant-garde, then from daring collectors like Leo and Gertrude Stein. In 1907, Picasso began the vast, disturbing masterpiece known as Les Demoiselles d’Avignon. Inspired by the painting of Paul Cézanne and the inventions of African and tribal sculpture, Picasso created a work that captured the disorienting experience of modernity itself. The painting proved so shocking that even his friends assumed he’d gone mad, but over the months and years it exerted an ever greater fascination on the most advanced painters and sculptors, ultimately laying the foundation for the most innovative century in the history of art. In Picasso and the Painting That Shocked the World, Miles J. Unger “combines the personal story of Picasso’s early years in Paris—his friendships, his romances, his great ambition, his fears—with the larger story of modernism and the avant-garde” (The Christian Science Monitor). This is the story of an artistic genius with a singular creative gift. It is “riveting…This engrossing book chronicles with precision and enthusiasm a painting with lasting impact in today’s art world” (Publishers Weekly, starred review), all of it played out against the backdrop of the world’s most captivating city.

How did the Eastern European and Soviet states write their respective histories of art and architecture during 1940s–1960s? The articles address both the Stalinist period and the Khrushchev Thaw, when the Marxist-Leninist discourse on art history was "invented" and refined. Although this discourse was inevitably "Sovietized" in a process dictated from Moscow, a variety of distinct interpretations emerged from across the Soviet bloc in the light of local traditions, cultural politics and decisions of individual authors. Even if the new "official" discourse often left space open for national concerns, it also gave rise to a countermovement in response to the aggressive ideologization of art and the preeminence assigned to (Socialist) Realist aesthetics.

An unprecedented study that reveals tapestry's role as a modernist medium and a model for the movement's discourse on both sides of the Atlantic in the decades following World War II

Within the field of psychology there is a proliferation of paradigms, theories, models, and dimensions without an underlying conceptual framework or theory. This conclusion has been reached by representatives of many different psychological specialties. In response to this inconsistency this book presents a hierarchical framework about important theoretical issues that are present in psychological thinking. These issues concern definitions of three major theoretical concepts in theory and practice: (a) paradigms, (b) theories, and (c) models. It focuses on defining, comparing, and contrasting these three conceptual terms. This framework clarifies differences among paradigms, theories, and models, terms which have become increasingly confused in the psychological literature. Paradigms are usually confused with theories or with models while theories are confused with models. Examples of misuses of these terms suggest the need for a hierarchical structure that views paradigms as conceptual constructions overseeing a variety of psychological theories and verifiable models.

A short journey through the educational systems of the 20th Century, using the work of Dr. Fred B. Wood & the Tofflers, among others.