Wang Ping's collection looks at a wide swathe of Chinese history and literature, and examines various issues stemming from immigration to America. She conveys the voices of centuries of farmers and factory laborers, revolutionaries, writers, artists and craftsmen. She has a unique gift for telling small stories with powerful emotional effects. The title poem, "Ten Thousand Waves," was inspired by a tragedy that occurred on February 5, 2004. More than twenty Chinese laborers were drowned in Morecambe Bay, England, when they were caught by an incoming tide. They were collecting cockles late in the evening, having been misinformed about the tidal times. The victims were undocumented immigrants, mainly from Fujian Province, China. In 2006, English filmmaker Nick Broomfield directed and produced Ghosts, a dramatic film based on the tragedy at Morecambe Bay. Not long after that, filmmaker Isaac Julien commissioned Ping to write a narrative script for his film on global immigration (“Small Boats”). When he saw Ping’s finished poem, Julien decided to make a film installation specifically on Chinese immigration, which he entitled Ten Thousand Waves, after Ping’s poem. Julien invited Ping to China for the filming, which prompted Ping to write a second piece, “The Great Summons.” Isaac recorded Ping reading the poems in London, and used both as the voice-over for his film. Ten Thousand Waves has been featured at the Pace Foundation galleries in San Antonio, Texas, and at the Museum of Modern Art in New York.

Ten Thousand waves is a true story of a surfer who finds spirituality within the passions he has pursued. The book is a east meets west adventure story where the author found his own path by bringing together meditation, prayer, love and appreciation. Giving explanations by using stories from throughout his life.

Illustrates how to connect with and incorporate Japanese design traditions into western homes. Adept at compact living and masters of elegant simplicity, the Japanese embody the principle of doing more with less.

Marking a return for Laura Mulvey to questions of film theory and feminism, as well as a reconsideration of new and old film technologies, this urgent and compelling collection of essays is essential reading for anyone interested in the power and pleasures of moving images. Its title, Afterimages, alludes to the dislocation of time that runs through many of the films and works it discusses as well as to the way we view them. Beginning with a section on the theme of woman as spectacle, a shift in focus leads to films from across the globe, directed by women and about women, all adopting radical cinematic strategies. Mulvey goes on to consider moving image works made for art galleries, arguing that the aesthetics of cinema have persisted into this environment. Structured in three main parts, Afterimages also features an appendix of ten frequently asked questions on her classic feminist essay “Visual Pleasure and Narrative Cinema,” in which Mulvey addresses questions of spectatorship, autonomy, and identity that are crucial to our era today.

263 pages, consisting of 175 poems (two volumes) of spiritually penetrating poetry, including an introduction and afterthought, and A Letter To Those Who Are Listening. Not associated with any group, cult, organized religion or dogma, the author translates the Light given to him in an unusual and compelling matter. Thus The Heart Speaks is the moving poetic record of the author's deeply spiritual experiences...dreams, visions, spiritual insights and raptures, giving witness to the Presence and interior Vision of God (Nonliteral Persepective), who may be selflessly Realized, potentially, as our innermost Being.

While a decade ago much of the discussion of new media in Asia was couched in Occidental notions of Asia as a "default setting" for technology in the future, today we are seeing a much more complex picture of contesting new media practices and production. As "new media" becomes increasingly an everyday reality for young and old across Asia through smartphones and associated devices, boundaries between art, new media, and the everyday are transformed. This Handbook addresses the historical, social, cultural, political, philosophical, artistic and economic dimensions of the region’s new media. Through an interdisciplinary revision of both "new media" and "Asia" the contributors provide new insights into the complex and contesting terrains of both notions. The Routledge Handbook of New Media in Asia will be the definitive publication for readers interested in comprehending all the various aspects of new media in Asia. It provides an authoritative, up-to-date, intellectually broad, conceptually cutting-edge guide to the important aspects of new media in the region — as the first point of consultation for researchers, advanced level undergraduate and postgraduate students in fields of new media and Asian studies.

The objective of this book is to introduce new researchers to the rich dynamical system of water waves, and to show how (some) abstract mathematical concepts can be applied fruitfully in a practical physical problem and to make the connection between theory and experiment. It provides a coherent set of lectures on the current status of water wave theory, including identification of some open problems.

A marathon dance mix consisting of thousands of mashed up text and image samples, In the House of the Hangman tries to give a taste of what life is like there, where it is impolite to speak of the noose. It is the third part of the life project Zeitgeist Spam. If you can't afford a copy ask me for a pdf.

In The Chinese Atlantic, Sean Metzger charts processes of global circulation across and beyond the Atlantic, exploring how seascapes generate new understandings of Chinese migration, financial networks and artistic production. Moving across film, painting, performance, and installation art, Metzger traces flows of money, culture, and aesthetics to reveal the ways in which routes of commerce stretching back to the Dutch Golden Age have molded and continue to influence the social reproduction of Chineseness. With a particular focus on the Caribbean, Metzger investigates the expressive culture of Chinese migrants and the communities that received these waves of people. He interrogates central issues in the study of similar case studies from South Africa and England to demonstrate how Chinese Atlantic seascapes frame globalization as we experience it today. Frequently focusing on art that interacts directly with the sites in which it is located, Metzger explores how Chinese migrant laborers and entrepreneurs did the same to shape—both physically and culturally—the new spaces in which they found themselves. In this manner, Metzger encourages us to see how artistic imagination and practice interact with migration to produce a new way of framing the global.