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The Ascott floating wall shelf provides a glam solution to your space-saving needs. Its sturdy brushed gold metal frame and satin white wooden shelves take inspiration from lovely modern glam decor. This wide design can be used as either a hanging wall shelf or a stylish living room entertainment center. Hang the Ascott wall shelf in your living room, entryway, bedroom, bathroom, or dining room for a decorative storage display to fit all of your needs. Use the Ascott shelf to display various keepsakes, succulents, or family photos. The overall dimensions of the Ascott rectangle shelf are 36 in. wide by 12 in. high with a sizable depth of 8 in. Want to elevate your wall storage to the next level Display two shelves side by side to create a symmetrical, floating console for your home, all while doubling your storage space. With attached keyhole hangers and pre-drilled holes, this shelf can be hung quickly and securely. Color: White/Gold.

The Ascott floating wall shelf provides a glam solution to your space-saving needs. Its sturdy brushed gold metal frame and satin white wooden shelves take inspiration from lovely modern glam decor. This versatile design can be used as either a hanging wall shelf or a ground-level floor shelf. This shelf comes with adjustable feet and tether kit to keep it secure even when using it as a floor shelf. Hang the Ascott wall shelf in your living room, entryway, bedroom, bathroom, or dining room for a decorative storage display to fit all of your needs. Use the four shelves to store small, decorative items or books, or use the Ascott to display various keepsakes, succulents, or family photos. The overall dimensions of the Ascott rectangle shelf are 24 in. wide by 32 in. high with a sizable depth of 8.25 in. Want to elevate your wall storage to the next level? Display multiple shelves side by side to create a symmetrical, decorative theme for your home, all while doubling your storage space. With attached keyhole hangers and pre-drilled holes, this shelf can be hung quickly and securely after some simple assembly. Color: White/Gold.

The Ascott floating wall shelf provides a modern solution to your space-saving needs. Its sturdy satin black metal frame and natural wooden shelves take inspiration from modern farmhouse styling. This wide design can be used as either a hanging wall shelf or a stylish living room entertainment center. Hang the Ascott wall shelf in your living room, entryway, bedroom, bathroom, or dining room for a decorative storage display to fit all of your needs. Use the Ascott shelf to display various keepsakes, succulents, or family photos. The overall dimensions of the Ascott rectangle shelf are 36 in. wide x 12 in. high with a sizable depth of 8 in. Want to elevate your wall storage to the next level. Display 2-shelves side by side to create a symmetrical, floating console for your home, all while doubling your storage space. With attached keyhole hangers and pre-drilled holes, this shelf can be hung quickly and securely. Color: Natural/Black.

The Savoy House Ascott 3-light outdoor post lantern is a standout source of cool contemporary lighting style for great first impressions. Sleek and slender, Ascott features lights inside panes of clear seeded glass in a sharply angled frame. Matte Black finish. Ascott is 18.75 in. H and 6.5 in. W. Uses 3 candelabra size bulbs of up to 60-Watt per bulb. Bulbs not included. Wet area rated.

The Savoy House Ascott 1-light outdoor wall lantern is a standout source of cool contemporary lighting style for great first impressions. Sleek and slender, Ascott features a center-mounted light inside panes of clear seeded glass in a sharply angled frame. Matte Black finish. Ascott is 21.5 in. H, 4.5 in. W and extends 6.25 in. from the wall. Uses one candelabra size bulb of up to 60-Watt. The bulb is not included. Wet area rated.

The Savoy House Ascott 3-light outdoor hanging lantern is a standout source of cool contemporary lighting style for great first impressions. Sleek and slender, Ascott features lights inside panes of clear seeded glass in a sharply angled frame. Matte Black finish. Ascott is 20 in. H and 6.5 in. W. Uses 3 candelabra size bulbs of up to 40-Watt per bulb. Bulbs not included. Damp area rated.

Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term "telematic art" to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.Telematics, a powerful marriage of computers and telecommunication, made technologies we now take for granted such as e-mail and automated teller machines (ATMs) part of our daily life, and made art a more interactive form of expression. Telematic art challenges traditional relationships between artist, artwork, and audience by allowing nonlocal audiences to influence the emergent qualities of the artwork, which consists of the ebb and flow of electronic information. These essays constitute a unique archaeology of ideas, tracing Ascott’s meditations on the formation of consciousness through the intertwined cultural histories of art and technology from the 1960s to the present.Shanken’s introduction situates Ascott’s work within a history of ideas in art, technology, and philosophy. Given the increasing role of the Internet and the World Wide Web in the creation of commerce and community at the dawn of this new millennium, scholars, students, laypeople, policymakers, and artists will find this collection informative and thought-provoking.

Pre-dating the great comic book villains, Paul Ernst's Doctor Satan stalked through the pages of Weird Tales in 1935 and 1936, bent on world domination and bizarre evil deeds for his own amusement. Opposing him with his own blend of science and sorcery is criminologist Ascott Keane.   For the first time since their original publication--from Doctor Satan's first appearance to his last bow in the pages of "the unique magazine"--at long last, all of Doctor Satan's appearances are collected in one handsome volume in chronological order.   All the stories have been carefully edited and re-typeset, and this edition features a new introduction by author/editor John Pelan.

Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term "telematic art" to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.Telematics, a powerful marriage of computers and telecommunication, made technologies we now take for granted―such as e-mail and automated teller machines (ATMs)―part of our daily life, and made art a more interactive form of expression. Telematic art challenges traditional relationships between artist, artwork, and audience by allowing nonlocal audiences to influence the emergent qualities of the artwork, which consists of the ebb and flow of electronic information. These essays constitute a unique archaeology of ideas, tracing Ascott’s meditations on the formation of consciousness through the intertwined cultural histories of art and technology from the 1960s to the present.Shanken’s introduction situates Ascott’s work within a history of ideas in art, technology, and philosophy. Given the increasing role of the Internet and the World Wide Web in the creation of commerce and community at the dawn of this new millennium, scholars, students, laypeople, policymakers, and artists will find this collection informative and thought-provoking.

Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term "telematic art" to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.Telematics, a powerful marriage of computers and telecommunication, made technologies we now take for granted such as e-mail and automated teller machines (ATMs) part of our daily life, and made art a more interactive form of expression. Telematic art challenges traditional relationships between artist, artwork, and audience by allowing nonlocal audiences to influence the emergent qualities of the artwork, which consists of the ebb and flow of electronic information. These essays constitute a unique archaeology of ideas, tracing Ascott’s meditations on the formation of consciousness through the intertwined cultural histories of art and technology from the 1960s to the present.Shanken’s introduction situates Ascott’s work within a history of ideas in art, technology, and philosophy. Given the increasing role of the Internet and the World Wide Web in the creation of commerce and community at the dawn of this new millennium, scholars, students, laypeople, policymakers, and artists will find this collection informative and thought-provoking.

Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term "telematic art" to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace. This book explores Ascott’s ideas on how networked communication has shaped behavior and consciousness within and beyond the realm of what is conventionally defined as art.Telematics, a powerful marriage of computers and telecommunication, made technologies we now take for granted―such as e-mail and automated teller machines (ATMs)―part of our daily life, and made art a more interactive form of expression. Telematic art challenges traditional relationships between artist, artwork, and audience by allowing nonlocal audiences to influence the emergent qualities of the artwork, which consists of the ebb and flow of electronic information. These essays constitute a unique archaeology of ideas, tracing Ascott’s meditations on the formation of consciousness through the intertwined cultural histories of art and technology from the 1960s to the present.Shanken’s introduction situates Ascott’s work within a history of ideas in art, technology, and philosophy. Given the increasing role of the Internet and the World Wide Web in the creation of commerce and community at the dawn of this new millennium, scholars, students, laypeople, policymakers, and artists will find this collection informative and thought-provoking.

Pre-dating the great comic book villains, Paul Ernst's Doctor Satan stalked through the pages of Weird Tales in 1935 and 1936, bent on world domination and bizarre evil deeds for his own amusement. Opposing him with his own blend of science and sorcery is criminologist Ascott Keane.   For the first time since their original publication--from Doctor Satan's first appearance to his last bow in the pages of "the unique magazine"--at long last, all of Doctor Satan's appearances are collected in one handsome volume in chronological order.   All the stories have been carefully edited and re-typeset, and this edition features a new introduction by author/editor John Pelan.