Michael Schwab – författare

A 50-year retrospective of the graphic art and design of Michael Schwab Studio, this large format book includes over 200 color plates revealing hand-drawn preliminary sketches and Polaroid photos of his models that are the basis of his work.  Together, they open a window into Schwab’s studio and his world of heroic and iconic characters. Truly coffee table worthy.Clients include:  Amtrak, Apple, Major League Baseball, Levi Strauss & Co, National Parks Service, Nike, The North Face, NY Metropolitan Opera, Pebble Beach, Polo Ralph Lauren, Robert Redford, The San Francisco Opera, Scribners, Turner Classic Movies, US Dept. of the Interior, 2002 Winter Olympic Games.Michael’s work included in these permanent collections:  San Francisco Palace of the Legion of Honor: Achenbach Collection, Smithsonian National Portrait Gallery, Library of Congress Permanent Collection, San Francisco Museum of Modern Art, National Baseball Hall of Fame and Museum.Various Exhibits:  WILD WEST: Plains to the Pacific 2016 Fine Arts Museums of San Francisco; Images of America 2004 Sundance, Utah; One Man Show 2001 San Francisco Palace of the Legion of Honor; Moscow International Poster Triennale 1992; Colorado International Triennale 1989; 12th International Poster Biennale 1998 Warsaw; Triennial of Posters 1994 Toyama, Japan; Pacific Wave California 1987 Italy; XIV Biennale Des Arts Graphiques 1990 Brno, Czechoslovakia; World’s Most Memorable Poster Exhibit 1992 Paris.

Of interest to scientists working in the field of optics or nonlinear physics, this book gives an overview of current developments in nonlinear photorefractive optics. It dicusses exciting discoveries, with special emphasis on transverse effects such as spatial soliton formation and interaction, spontaneous pattern formation and pattern competition in active feedback systems. Different aspects of potential applications, such as wave guiding in adaptive photorefractive solitons and techniques for pattern control for information processing, are also described. The author Professor Denz received the Lise Meitner Prize in 1993 for her dissertation on photorefractive neural networks and in 1999 the Adolf Messer Prize for the development of an optical motion detection filter.

Of interest to scientists working in the field of optics or nonlinear physics, this book gives an overview of current developments in nonlinear photorefractive optics. It dicusses exciting discoveries, with special emphasis on transverse effects such as spatial soliton formation and interaction, spontaneous pattern formation and pattern competition in active feedback systems. Different aspects of potential applications, such as wave guiding in adaptive photorefractive solitons and techniques for pattern control for information processing, are also described. The author Professor Denz received the Lise Meitner Prize in 1993 for her dissertation on photorefractive neural networks and in 1999 the Adolf Messer Prize for the development of an optical motion detection filter.

The Exposition of Artistic Research: Publishing Art in Academia introduces the pioneering concept of ‘expositions’ in the context of art and design research, where practice needs to be exposed as research to enter academic discourse. It brings together reflective and methodological approaches to exposition writing from a variety of artistic disciplines including fine art, music and design, which it links to questions of publication and the use of technology.

Research is a process that leads to new insights rupturing the existent fabric of knowledge. To prevent this process from disintegrating, its coherence must be assured. Under the heading transposition, seventeen artists, musicians, and theorists explain how one thing may turn into another in a spatio-temporal play of identity and difference that has the power to expand into the unknown.While it does not attempt to define the still evolving field of artistic research, through the idea of transposition this book aims to grasp a quality increasingly important to artistic practice because representational approaches have been losing traction. Taking to heart the lessons of deconstruction, new modes of epistemic relationships are being invented that include aesthetic dimensions. Working with materially concrete positions in a manner familiar to artists can ensure that knowledge does not decay into relativism.Contributors: Annette Arlander (University of the Arts Helsinki), Paulo de Assis (Orpheus Institute, Ghent), Rosi Braidotti (Utrecht University), Leif Dahlberg (Royal Institute of Technology Stockholm), Lucia D'Errico (Orpheus Institute, Ghent), Mika Elo (University of the Arts Helsinki), Laura Gonzalez (Royal Conservatoire of Scotland), Esa Kirkkopelto (University of the Arts Helsinki), Yve Lomax (Royal College of Art, London), Cecile Malaspina (CNRS-Universite Paris 1/Universite Paris 7), Tor-Finn Malum Fitje (independent artist, Oslo), Dieter Mersch (Zurich University of the Arts), David Pirro (University of Music and Performing Arts Graz), Hans-Joerg Rheinberger (Max Planck Institute for the History of Science, Berlin), Hanns Holger Rutz (University of Music and Performing Arts Graz), Michael Schwab (Orpheus Institute, Ghent/University of Applied Arts Vienna), Birk Weiberg (Zurich University of the Arts)