Artists’ oil paints have become increasingly complex and diverse in the 20th Century, applied by artists in a variety of ways. This has led to a number of issues that pose increasing difficulties to conservators and collection keepers. A deeper knowledge of the artists’ intent as well as processes associated with material changes in paintings is important to conservation, which is almost always a compromise between material preservation and aesthetics. This volume represents 46 peer-reviewed papers presented at the Conference of Modern Oil Paints held in Amsterdam in 2018. The book contains a compilation of articles on oil paints and paintings in the 20th Century, partly presenting the outcome of the European JPI project ‘Cleaning of Modern Oil Paints’. It is also a follow-up on ‘Issues in Contemporary Oil Paint’ (Springer, 2014). The chapters cover a range of themes and topics such as: patents and paint manufacturing in the 20th Century; characterization of modern-contemporary oil paints and paint surfaces; artists’ materials and techniques; the artists’ voice and influence on perception of curators, conservators and scientists; model studies on paint degradation and long term stability; approaches to conservation of oil paintings; practical surface treatment and display. The book will help conservators and curators recognise problems and interpret visual changes on paintings, which in turn give a more solid basis for decisions on the treatment of these paintings.

How can we research the not-as-yet? The Research Event is concerned with enabling and nurturing an empirical and analytic sensibility that can address – that is speculate on – the emergent and the prospective in social life. A distinctive and novel contribution, this book introduces and expands on the notion of the ‘research event’, equipping the researcher with the speculative means to connect with the changing landscape of social scientific research. As such the research event is understood as a fluid, unfolding process that encompasses a multitude of heterogeneous ingredients, ranging from the formulation of research questions, through the vagaries of participant engagement, to the practices of writing and dissemination. The book aims to provide social science researchers with practical and conceptual heuristics for the ‘opening up’ of research practice so that it better engages with, but also better provokes, the possibilities that are entailed in the doing of social research. Inventively and entertainingly, the book draws on many of the author's own empirical examples to illustrate critically the use and value of these heuristics. As a research event in itself, this book is a speculation on prospective methodologies and an invitation to explore the possibilities of social research. This book will appeal to a broad range of social science researchers, from advanced undergraduates to established scholars. It will be a key reading in advanced BA and MA courses on alternative research methodologies, or a supplementary reading on more traditional courses aiming to include emerging methods.

This ambitious study explores how important darkness--artificial darkness--was, as an actual technology, in producing not just photographs but visual novelties and experiments in cinema in the nineteenth century. The study plays out against a backdrop of urban history, where most scholars have focused on the growth of artificial light and the electrification of cities. Elcott’s study challenges that approach. In considering zones of darkness, it ranges from the sites of production (darkrooms, studios) to those of reception (theaters/cinemas/arcades) that shaped modern media and perceptions. He argues that, in the nineteenth century, the avant-garde was often less interested in the filmed image than in everything surrounding it: the screen, the projected light, the darkness, the experience of disembodiment. He argues that darkness has a history separate from night, evil, or the color black, and has a specifically modern manifestation as a media technology. We are all aware of the "velvet light trap” in photography, but at the heart of this book are technologies of darkness crucial to cinema that were commonly known as "the black screen,” but have, over time, faded from the storied discourse.

Featuring international contributions from leading and emerging scholars, this innovative Research Handbook presents a panoramic view of how law sees visual art, and how visual art sees law. It resists the conventional approach to art and law as inherently dissonant – one a discipline preoccupied with rationality, certainty and objectivity; the other a creative enterprise ensconced in the imaginary and inviting multiple, unique and subjective interpretations. Blending these two distinct disciplines, this unique Research Handbook bridges the gap between art and law.

Adventures with Materials is an immersive encounter with more than 15 fibres, minerals, resins and metals that have a wide range of everyday and specialist applications. What's the difference between natural and synthetic materials? How does amber capture a slice of prehistoric life? Why is cotton one of the world's most important crops? Spin some fine fabric with the mulberry silkworm. Become an illusionist's apprentice. And witness the mesmerising properties of gallium. From design and the fine arts to building and construction, and from the science lab to your home, appreciate the astonishing uses of materials as never before!

Shine allures and awakens desire. As a phenomenon of perception shiny things and materials fascinate and tantalize. They are a formative element of material culture, promising luxury, social distinction and the hope of limitless experience and excess. Since the early twentieth century the mass production, dissemination and popularization of synthetic materials that produce heretofore-unknown effects of shine have increased. At the same time, shine is subjectified as “glamor” and made into a token of performative self-empowerment. The volume illuminates genealogical as well as systematic relationships between material phenomena of shine and cultural-philosophical concepts of appearance, illusion, distraction and glare in bringing together renowned scholars from various disciplines.