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A study of concrete art and poetry, its implications, and influence in Brazil.

Concrete art and poetry burst onto Brazil’s cultural stage in the 1950s, while the country was embarking on a dizzying period of modernization. Bringing together key poets and visual artists alongside less recognized figures, Nathaniel Wolfson shows that concretism was hardly socially inert, as pundits have suggested. Rather, it presciently grappled with an emerging information age that would soon reorganize human relations globally.

Concrete Encoded describes a nascent cybernetic imaginary. Concretism has long been considered Brazil’s most global aesthetic movement. Wolfson traces new circles of international theorists and practitioners involved in critical technological thought. Wolfson argues that concrete poetry is the quintessential literary genre of the early information age. He shows that Brazilian poets, artists, and designers contested the military dictatorship’s technological authoritarianism and information-gathering operations. Vigorous experimentalists, their attention to form and semantics unveiled both the creative and nefarious possibilities of algorithmic writing. A highly original work, Concrete Encoded reckons with aesthetic responses from Brazil to an advancing capitalist and digital era.

The traditional costumes worn by people in the Andes—women's woolen skirts, men's ponchos, woven belts, and white felt hats—instantly identify them as natives of the region and serve as revealing markers of ethnicity, social class, gender, age, and so on. Because costume expresses so much, scholars study it to learn how the indigenous people of the Andes have identified themselves over time, as well as how others have identified and influenced them.

Costume and History in Highland Ecuador assembles for the first time for any Andean country the evidence for indigenous costume from the entire chronological range of prehistory and history. The contributors glean a remarkable amount of information from pre-Hispanic ceramics and textile tools, archaeological textiles from the Inca empire in Peru, written accounts from the colonial period, nineteenth-century European-style pictorial representations, and twentieth-century textiles in museum collections. Their findings reveal that several garments introduced by the Incas, including men's tunics and women's wrapped dresses, shawls, and belts, had a remarkable longevity. They also demonstrate that the hybrid poncho from Chile and the rebozo from Mexico diffused in South America during the colonial period, and that the development of the rebozo in particular was more interesting and complex than has previously been suggested. The adoption of Spanish garments such as the pollera (skirt) and man's shirt were also less straightforward and of more recent vintage than might be expected.

Decorative needlework was a key medium through which American women constructed femininity and its relationship to public and political concerns in the nineteenth and early twentieth centuries. Through samplers, needlecases, lace coats, silk sofas, cotton scraps, banners, and other textile things, scholars can see the ways in which women and girls related to education, property-holding, slavery and freedom, labor, and women’s right to vote. Needlework’s durable association with “traditional” notions about womanhood made it a potent resource through which to make gender in expansive and meaningful ways that had profound public, political implications as educational opportunities for girls and women were expanding, and the antislavery and women's suffrage movements were growing. Indeed, needlework's very conventionality and relationship to the past made it a useful tool for crafting womanhood anew. 

Schoolyards have come a long way from the barren playgrounds that many people remember. Today's school campuses often feature gardens in which students can learn about native plants and wildlife, grow vegetables and fruit, explore cultural traditions, practice reading and math skills, and use their imaginations to create fun play spaces. And for a growing number of urban students, these schoolyard gardens offer the best, if not the only, opportunity to experience the natural world firsthand and enjoy its many benefits.

This book is a practical, hands-on guide for creating a variety of learning environments in the arid Southwest. Filled with clear, easy-to-use information and illustrated with photographs, drawings, and plans, the book covers everything necessary to create schoolyard gardens:

• An introduction to schoolyards as outdoor classrooms and several types of habitats, including art gardens, cultural history gardens, ecological gardens, literacy gardens, and vegetable gardens
• Design theory, including a history of garden styles, and design principles and design elements
• Beginning the design process, including identifying participants and writing a design program that sets out goals and requirements
• Conducting site research and synthesizing design elements to arrive at a final design
• Design essentials, including project funding and design features, maintenance, accessibility, safety, and project evaluation and revision
• Wildlife ecology, including elements needed for survival such as food and shelter
• Creating gardens for pollinators and other wildlife, including hummingbirds, butterflies, bees, moths, bats, and flies, as well as pest control
• Lists of native plants for various kinds of habitats and nurseries that sell native plants, as well as books, web sites, and other resources for learning more about native plants and wildlife

This guide will be essential for landscape architects, school personnel, parents, and students. Indeed, its principles can be used in designing schoolyard habitats across the country, while its information on gardening with native plants and wildlife will be useful to homeowners across the Southwest.

Established in 1918, as a new state the First Czechoslovak Republic was keen to project a distinct image. Participation in World Fairs offered the perfect opportunity-. In this comprehensive account of Czechoslovak participation in international exhibitions of the interwar period Marta Filipová looks beyond the sleek façade of the modernist pavilions to examine the intersections of architecture, art and design with commercial interests, state agendas, individual action and the public, offering a complex insight into the production and reception of national displays.

The rich collection of images – mainly photographs – provides a close look at the Czechoslovak pavilions. The design, content and context of the displays convey an idealized narrative that was created for the fairs and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, and food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people, and ideas.

While Marta Filipová primarily focuses on Czechoslovakia, she also offers insights into how other emerging nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.