In the field

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Gail Priest

Experimental music has been mostly unrecognised in Australia, but it is in this "underground" area that the major innovations and creative developments in music occur. Through testing perceived boundaries, breaking rules and creating new forms, the artists in this field force us to question what, in fact, music is. Written by artists who have been actively engaged in the areas they are covering, Experimental music explores the development of forms, ideas and scenes from the 1970s to the present.

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John Watkinson

Described as "the most comprehensive book on digital audio to date", it is widely acclaimed as an industry "bible". Covering the very latest developments in digital audio technology, it provides an thorough introduction to the theory as well as acting as an authoritative and comprehensive professional reference source. Everything you need is here from the fundamental principles to the latest applications, written in an award-winning style with clear explanations from first principles.--P. [4] of cover.

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Sir Mortimer Wheeler

"The author discusses the many diverse qualities of Roman art in terms of its development within Italy and the Empire, but offers as well a perceptive and original account of the cross-currents between Rome and the East. His history is enhanced by hundreds of imaginatively chosen reproductions, which have been specially selected to accompany each section of the text -- brilliant and faithful photographs of Rome's great temples, palaces, circuses, viaducts, frescoes and scuptures, and even of the Romans' daily utensils and pottery." -- Book jacket.

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Matthew Simms

Cezanne's watercolours exhibit not only kaleidoscopic arrays of translucence but also very light graphite pencil lines that contrast strikingly with the soft watery touches of colour. These drawn lines have been largely overlooked in previous studies of Cezanne's work in this medium.In this ravishing book, Matthew Simms argues that it was the dialogue between drawing and painting - the movement between pencil and paintbrush - that attracted Cezanne to watercolour. The technique allowed Cezanne to express what he termed his "sensations" in two distinct modes that become a record of his shifting and spontaneous responses to his subject. Combining close visual analysis and examination of historical context, Simms focuses on the counterpoint of drawing and colour in Cezanne's work over the course of his career and as viewed in relation to his oil paintings. More than a tool for sketching or preparing for oil paintings, Simms contends, watercolour was a unique means of expression in its own right that allowed Cezanne to combine in one place the two otherwise opposed mediums of drawing and painting.