Jeremy Howard – författare

Hailed as a brilliant theoretician, Voldemārs Matvejs (best known by his pen name Vladimir Markov) was a Latvian artist who spearheaded the Union of Youth, a dynamic group championing artistic change in Russia, 1910-14. His work had a formative impact on Malevich, Tatlin, and the Constructivists before it was censored during the era of Soviet realism. This volume introduces Markov as an innovative and pioneering art photographer and assembles, for the first time, five of his most important essays. The translations of these hard-to-find texts are fresh, unabridged, and authentically poetic. Critical essays by Jeremy Howard and Irena Buzinska situate his work in the larger phenomenon of Russian ’primitivism’, i.e. the search for the primal. This book challenges hardening narratives of primitivism by reexamining the enthusiasm for world art in the early modern period from the perspective of Russia rather than Western Europe. Markov composed what may be the first book on African art and Z.S. Strother analyzes both the text and its photographs for their unique interpretation of West African sculpture as a Kantian ’play of masses and weights’. The book will appeal to students of modernism, orientalism, ’primitivism’, historiography, African art, and the history of the photography of sculpture.

Hailed as a brilliant theoretician, Voldemārs Matvejs (best known by his pen name Vladimir Markov) was a Latvian artist who spearheaded the Union of Youth, a dynamic group championing artistic change in Russia, 1910-14. His work had a formative impact on Malevich, Tatlin, and the Constructivists before it was censored during the era of Soviet realism. This volume introduces Markov as an innovative and pioneering art photographer and assembles, for the first time, five of his most important essays. The translations of these hard-to-find texts are fresh, unabridged, and authentically poetic. Critical essays by Jeremy Howard and Irena Buzinska situate his work in the larger phenomenon of Russian ’primitivism’, i.e. the search for the primal. This book challenges hardening narratives of primitivism by reexamining the enthusiasm for world art in the early modern period from the perspective of Russia rather than Western Europe. Markov composed what may be the first book on African art and Z.S. Strother analyzes both the text and its photographs for their unique interpretation of West African sculpture as a Kantian ’play of masses and weights’. The book will appeal to students of modernism, orientalism, ’primitivism’, historiography, African art, and the history of the photography of sculpture.

Deep learning is often viewed as the exclusive domain of math PhDs and big tech companies. But as this hands-on guide demonstrates, programmers comfortable with Python can achieve impressive results in deep learning with little math background, small amounts of data, and minimal code. How? With fastai, the first library to provide a consistent interface to the most frequently used deep learning applications.Authors Jeremy Howard and Sylvain Gugger, the creators of fastai, show you how to train a model on a wide range of tasks using fastai and PyTorch. You'll also dive progressively further into deep learning theory to gain a complete understanding of the algorithms behind the scenes.Train models in computer vision, natural language processing, tabular data, and collaborative filteringLearn the latest deep learning techniques that matter most in practiceImprove accuracy, speed, and reliability by understanding how deep learning models workDiscover how to turn your models into web applicationsImplement deep learning algorithms from scratchConsider the ethical implications of your workGain insight from the foreword by PyTorch cofounder, Soumith Chintala

Balkan Fabrications explores the nature and place of Fra Newbery’s move to Balkan subjects in the 1920s. In so doing it simultaneously focuses on the work of his wife, Jessie Newbery, the original head of embroidery at Glasgow, whose interest in Balkan textiles proved an inspiration for her husband’s painterly experiments. Through probing the Newberys’ interpretations of folk crafts and conventions of southeastern Europe, the book considers what they, and others whose gazes were similarly directed, have to say about notions of womanhood and modernity. Thereby it also reveals the refinement of their respective eyes as it charts their discernment of threads of quotidian beauty.From their home in Corfe Castle, Dorset, the Newberys articulated a visual language that is shown to fit with the early-twentieth-century context of European, not least British, interest in the ways of the Balkan peoples. By highlighting political motivations as well as artistic responses Howard paints a picture of diverse, sometimes conflicting, ideas and values with wide-reaching ramifications. Parallels and alternatives to the Newberys’ creative expression of concern for the observed Balkan designs and customs are revealed through a survey of work by other, under-appreciated, artists. While most of these are British and female, e.g. De Courcy Lewthwaite Dewar, Kathleen Mann, Annie Dickinson, Ethel Mairet and Jean Milne, their art is examined alongside that of several from the peninsula (e.g. Ivan Meštrović, Nadežda Petrović, Lena Jovićić and Valcho Antonov) who convey counterpart constructions of Balkan identity. Howard’s text uncovers the couple’s notions of ‘what is art’, and, with these, a fresh understanding for the relations between art and life that is as pertinent today as it was in their era.