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I Everyday Movies i is a gamechanger in film and media studies in the way it moves the scholarly gaze away from film and cinema towards a focus on the portable projector. At the same time, the chapter considers the importance of the portable projector to the military, beyond the screening of "morale" films: 'Some 75 percent of film and photography use was strictly of a strategic nature. As Wasson argues, the rapid growth of the portable film projector by the 1950s forces us, 'to radically reframe how we understand "cinema" as an infrastructure, an apparatus, and a cultural activity' (p. 153), with the portable film projector, and its "small cinema", serving, 'as the most common, accessible, and majoritarian mode for film viewing' (p. 154). [Extracted from the article]

The article reviews the exhibition "RRRIPP!! Paper Fashion" at the Benaki Museum, Piraeus St. Annex, Athens, Greece, March 1-April 15, 2007.

The article reviews the book "China on Paper: European and Chinese Works from the Late Sixteenth to the Early Nineteenth Century," by Marcia Reed and Paola Demattè.

The article reviews 2 exhibitions on the topic of death including works by Damien Hirst at the Tate Modern, London held from 4 April-9 September 2012 and Leonardo da Vinci: Anatomist at the Queen's Gallery, Buckingham Palace, London held from 4 May-7 October 2012.

Here, a distinction between the two subjects of anthropology and archaeology can be seen, and in modern-day India, anthropologists mostly stick to the studies of the tribal lifeways, whereas archaeologists are contained in studying the past. The influence of colonial legacy on the scholarly work of the European Mesolithic has been represented in this paper by Elliot and Warren. Elliot and Warren dive into the previously unknown deep waters of Mesolithic archaeology in the European scenario and weigh the consequences of the colonial thought process in Mesolithic archaeology globally. [Extracted from the article]

The article reviews the exhibition "Have Nothing in Your Houses That You Do Not Know to Be Useful, or Believe to Be Beautiful" at the Leo Kamen Gallery in Toronto, Ontario from February 21-March 21, 2009.

Thomas Barry, author of The Dream of the Earths, suggests that our civilization is moving into an ecozoic, rather than an ecological era. While ecology merely refers to an understanding of our life systems and their integral relations, the term ecozoic (zoic bering derived from the Greek zoe meaning life) also conveys the feeling of an immediate, biological reality. This paper puts EXOTE (2011), the latest creation of Flemish theatre maker and visual artist Kris Verdonck, within the context of ecozoic art. EXOTE is an indoor garden that has been planted on the first floor of the Z33 House for Contemporary Art in Hasselt. It houses species that have been defined by the European Union as ‘invasive alien species’; they thrive outside their natural distribution area, threaten biological diversity and hence have a devastating impact on ecology. Verdonck selected a number of these species and brought them together in one big luminous garden. The garden of Eden that turns ‘sick’ in the end – putting together invasive species in a confined space is an experiment of biological wars and battles of survival – is a metaphor for sick contemporary humanity. Intense worldwide trade has introduced several species into new habitats, allowing them to invade the local fauna. In this sense, this interactive installation and the performative walking of its visitors allude to the malaise of overproduction and consumption. Verdonck's garden is in that sense a hortus contemplationis: a garden that triggers a reflexive response to utilitarianism and resource exploitation, communicating an ecological consciousness, by means of conveying an immediate, biological reality. [ABSTRACT FROM AUTHOR]