The Shape Of Time

Arising from the study of art history, this book presents a radically new approach to the problem of historical change. George Kubler draws upon new insights in fields such as anthropology and linguistics and replaces the notion of style with the idea of a linked succession of works distributed in time as recognizably early and late versions of the same action. The result is a view of historical sequence aligned on continuous change more than upon the ecstatic concept of style--the usual basis for conventional histories of art.

When it was first released in 1962, The Shape of Time presented a radically new approach to the study of art history. Drawing upon new insights in fields such as anthropology and linguistics, George Kubler replaced the notion of style as the basis for histories of art with the concept of historical sequence and continuous change across time. Kubler’s classic work is now made available in a freshly designed edition. “The Shape of Time is as relevant now as it was in 1962. This book, a sober, deeply introspective, and quietly thrilling meditation on the flow of time and space and the place of objects within a larger continuum, adumbrates so many of the critical and theoretical concerns of the late twentieth and early twenty-first century. It is both appropriate and necessary that it re-appear in our consciousness at this time.”—Edward J. Sullivan, New York University This book will be of interest to all students of art history and to those concerned with the nature and theory of history in general. In a study of formal and symbolic durations the author presents a radically new approach to the problem of historical change. Using new ideas in anthropology and linguistics, he pursues such questions as the nature of time, the nature of change, and the meaning of invention. The result is a view of historical sequence aligned on continuous change more than upon the static notion of style—the usual basis for conventional histories of art. A carefully reasoned and brilliantly suggestive essay in defense of the view that the history of art can be the study of formal relationships, as against the view that it should concentrate on ideas of symbols or biography.—Harper's.It is a most important achievement, and I am sure that it will be studies for many years in many fields. I hope the book upsets people and makes them reformulate.—James Ackerman.In this brief and important essay, George Kubler questions the soundness of the stylistic basis of art historical studies. . . . The Shape of Time ably states a significant position on one of the most complex questions of modern art historical scholarship.—Virginia Quarterly Review.

First in the middle-grade mind-bending Rymworld Arcana adventure series from award-winning author Ryan Calejo, The Shape of Time is destined to be an instant classic. Fourteen-year-old Antares De La Vega is a natural born adventurer. He dreams of journeying across burning deserts, trekking through wild and uncharted jungles, sailing the farthest reaches of the seas—and yet, he’s never even stepped foot outside of South Florida. But that all changes when strange creatures come leaping out of lightning bolts to kidnap him. Locked away in a secret prison in the middle of the Bermuda Triangle, Antares meets fourteen-year-old Magdavellía, a mysterious and iron-willed girl who opens his eyes to a shocking truth: that this world is a far different place than he’s been led to believe. He learns of the existence of the Flat Earth Society, an ancient secret order, whose main function is to keep the world beyond the great Ice Wall a mystery—a land known as Rymworld. But Rymworld is in trouble. Led by a nameless evil, a sinister group of mystics seek to seize control over its only true resource: time itself. Antares and Magdavellía must set out beyond the edges of any map to discover the undiscoverable: a lost and forgotten island where there is rumored to exist a legendary artifact—a mythical compass that just might hold the key to foiling the mystics’ plans. Following a series of intricately concealed clues left behind by Magdavellía’s parents (clues Antares seems to be the key to unlocking), they must wield both geometry and alchemy, outsmart molemen and mermaids, and outrun fiendish outer space aliens––all while attempting to solve a riddle as old and mystifying as the sun. Includes Black-and-White Illustrations

This is a book about time, but it is also about much more than time—it is about how the objects we use to think about time shape our thoughts. Because time ties together so many aspects of our lives, this book is able to explore the nexus of objects, cognition, culture, and even biology, and to do so in relationship to globalization.

The Shape of Things to Come is a work of science fiction, which speculates on future events from 1933 until the year 2106. In the book, a world state is established as the solution to humanity's problems. As a frame story, Wells claims that the book is his edited version of notes written by an eminent diplomat, Dr Philip Raven, who had been having dream visions of a history textbook published in 2106 and wrote down what he could remember of it. Herbert George Wells (1866-1946), known as H. G. Wells, was a prolific English writer in many genres, including the novel, history, politics, and social commentary, and textbooks and rules for war games.

Today when we hear the word “craft,” a whole host of things come immediately to mind: microbreweries, artisanal cheeses, and an array of handmade objects. Craft has become so overused, that it can grate on our ears as pretentious and strain our credulity. But its overuse also reveals just how compelling craft has become in modern life. In The Shape of Craft, Ezra Shales explores some of the key questions of craft: who makes it, what do we mean when we think about a crafted object, where and when crafted objects are made, and what this all means to our understanding of craft. He argues that, beyond the clichés, craft still adds texture to sterile modern homes and it provides many people with a livelihood, not just a hobby. Along the way, Shales upends our definition of what is handcrafted or authentic, revealing the contradictions in our expectations of craft. Craft is—and isn’t—what we think.

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