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This book considers the film stills of Ernst Haas (1921-86), one of the most accomplished photographers of the 20th century, transgressing the borders between still photography and the moving image. Haas worked with a variety of eminent directors--from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino--and depicted cinema genres from suspense (The Third Man, The Train) to the Western (The Oregon Trail, Little Big Man), and from comedy (Miracle in Milan, Love and Death) to musicals (West Side Story, Hello Dolly). Haas inscribed a temporal, filmic dimension into his stills which, when viewed in a sequence, generate movement and narrative. So accomplished was his mastery of color, light and motion that Haas was frequently asked to photograph large group actions--from the battle scenes of The Charge of the Light Brigade and the dances of West Side Story to the ski slopes of Downhill Racer. On Set elucidates a novel perspective on the sets and the stars Haas photographed, and reveals a little-known but crucial dimension of his oeuvre.

79 pages, illustrated in coulour plates. Text in English. On the work of Michael Kirkham. Text by Ernst van Alphen. The book is published at the occasion of an exhibition at the Haags Gemeentemuseum. Size: 284 x 243 Mm

Franz Hawlata, Arthur Korn, Michael Volle, Klaus Florian Vogt, Norbert Ernst, Michaela Kaune, and Carola Guber star in this Bayreuth Festival production of the Wagner opera conducted by Sebastian Weigle and directed by Katharina Wagner.

One of the fundamental concepts of biodynamic agriculture is how the sun, moon and planets work through calcium and silica in the growth of plants. Ernst Michael Kranich's book describes the growth patterns, leaf placements, and flower forms of different plant families and how they are clearly connected to the same rhythmical activity of specific planets. With this study, readers can enlarge their perceptions of nature. Many examples and drawings are included, illustrating the connections between the orbital paths of planets and the shapes found in particular plants.

At his death in 1945, the influential German philosopher Ernst Cassirer left manuscripts for the fourth and final volume of his magnum opus, The Philosophy of Symbolic Forms. John Michael Krois and Donald Phillip Verene have edited these writings and translated them into English for the first time, bringing to completion Cassirer's major treatment of the concept of symbolic form.Ernst Cassirer believed that all the forms of representation that human beings use―language, myth, art, religion, history, science―are symbolic, and the concept of symbolic forms was the basis of his thinking on these subjects. In this volume, which contains one text written in 1928 and another in about 1940, Cassirer presents the metaphysics that is implicit in his epistemology and phenomenology of culture. The earlier text grounds the philosopher's conception of symbolic forms on a notion of human nature that makes a general distinction between Geist (mind) and life. In the later text, he discusses Basis Phenomena, an original concept not mentioned in any of his previous works, and he compares his own viewpoint with those of other modern philosophers, notably Bergson and Heidegger.

Through the work of Charles Darwin, a great task was set before science--to progress from opinions about evolution to a science of evolution, and reveal the inner laws and driving forces at work in the development of the organic world. In Thinking beyond Darwin, Ernst-Michael Kranich focuses on a central problem of evolutionary science. He shows us a way, based on Goethe's botanical and zoological investigations, of seeing the coherence and inner dynamics of organisms. Using Goethe's concept of type as a key to vertebrate evolution, Kranich methodically lays the foundation for a science of evolution. He focuses on the central problem of evolutionary science: are there underlying principles that connect the many disparate facts? By applying Goethe's method consistently to evolutionary thinking, Kranich shows that the laws and driving forces of evolution are encompassed by the inner lawfulness of living organisms and that we must participate through formative thinking in the evolutionary processes. Thinking beyond Darwin, makes an important contribution to the development of more adequate concepts of evolution and arrives at clear insights about earlier animal forms and evolutionary laws that could have immense consequences for future evolutionary thinking.

At his death in 1945, the influential German philosopher Ernst Cassirer left manuscripts for the fourth and final volume of his magnum opus, The Philosophy of Symbolic Forms. John Michael Krois and Donald Phillip Verene have edited these writings and translated them into English for the first time, bringing to completion Cassirer's major treatment of the concept of symbolic form.Ernst Cassirer believed that all the forms of representation that human beings use―language, myth, art, religion, history, science―are symbolic, and the concept of symbolic forms was the basis of his thinking on these subjects. In this volume, which contains one text written in 1928 and another in about 1940, Cassirer presents the metaphysics that is implicit in his epistemology and phenomenology of culture. The earlier text grounds the philosopher's conception of symbolic forms on a notion of human nature that makes a general distinction between Geist (mind) and life. In the later text, he discusses Basis Phenomena, an original concept not mentioned in any of his previous works, and he compares his own viewpoint with those of other modern philosophers, notably Bergson and Heidegger.

Expanding upon the long unavailable 2014 publication of the same name, this book presents 19 artists who have designed BMWs, including John Baldessari, Alexander Calder, Sandro Chia, Ken Done, Olafur Eliasson, Cao Fei, Ernst Fuchs, David Hockney, Jenny Holzer, Michael Jagamara Nelson, Matazo Kayama, Jeff Koons, Roy Lichtenstein, Esther Mahlangu, César Manrique, A.R. Penck, Robert Rauschenberg, Frank Stella and Andy Warhol.Twelve years after the first Benz patent motorcar Number 1 made its first journey in July 1886, a car raced across the image in Henri de Toulouse-Lautrec’s lithograph, The Automobilist. La 628-E8, a novel named after the license plate number of its author, Octave Mirbeau, was published in the early 20th century. In his Futurist Manifesto, Filippo Tommaso Marinetti rated the beauty of a racecar’s revving engine and speed higher than the aesthetics of the Nike of Samothrace. Ever since its invention, artists have been examining the automobile, and the BMW Art Cars have played a central role. Alexander Calder’s BMW 3.0 CSL from 1975 was the first in a series brought to life by Hervé Poulain, lover of auto racing and works of art, in collaboration with BMW’s head of motorsports, Jochen Neerpasch. Nineteen artists have since designed BMW models, and these “rolling sculptures” have proved themselves not only in museums but also on the racetrack at Le Mans.

Hardcover. 007. Kissy Suzuki. Blofeld.In a poisoned garden in Japan, Bond has only onechance to take down his nemesis, the criminal mastermind Ernst Blofeld.Thisprestige hardback features bonus content as well as brand new cover art bylegendary designer Michael Gillette. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Expanding upon the long unavailable 2014 publication of the same name, this book presents 19 artists who have designed BMWs, including John Baldessari, Alexander Calder, Sandro Chia, Ken Done, Olafur Eliasson, Cao Fei, Ernst Fuchs, David Hockney, Jenny Holzer, Michael Jagamara Nelson, Matazo Kayama, Jeff Koons, Roy Lichtenstein, Esther Mahlangu, César Manrique, A.R. Penck, Robert Rauschenberg, Frank Stella and Andy Warhol.Twelve years after the first Benz patent motorcar Number 1 made its first journey in July 1886, a car raced across the image in Henri de Toulouse-Lautrec’s lithograph, The Automobilist. La 628-E8, a novel named after the license plate number of its author, Octave Mirbeau, was published in the early 20th century. In his Futurist Manifesto, Filippo Tommaso Marinetti rated the beauty of a racecar’s revving engine and speed higher than the aesthetics of the Nike of Samothrace. Ever since its invention, artists have been examining the automobile, and the BMW Art Cars have played a central role. Alexander Calder’s BMW 3.0 CSL from 1975 was the first in a series brought to life by Hervé Poulain, lover of auto racing and works of art, in collaboration with BMW’s head of motorsports, Jochen Neerpasch. Nineteen artists have since designed BMW models, and these “rolling sculptures” have proved themselves not only in museums but also on the racetrack at Le Mans.

Franz Hawlata, Arthur Korn, Michael Volle, Klaus Florian Vogt, Norbert Ernst, Michaela Kaune, and Carola Guber star in this Bayreuth Festival production of the Wagner opera conducted by Sebastian Weigle and directed by Katharina Wagner.