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| center for postnatural history photos: Atlas Obscura, 2nd Edition Joshua Foer, Ella Morton, Dylan Thuras, Atlas Obscura, 2019-10-15 Discover wonder. “A wanderlust-whetting cabinet of curiosities on paper.”— New York Times Inspiring equal parts wonder and wanderlust, Atlas Obscura is a phenomenon of a travel book that shot to the top of bestseller lists when it was first published and changed the way we think about the world, expanding our sense of how strange and marvelous it really is. This second edition takes readers to even more curious and unusual destinations, with more than 100 new places, dozens and dozens of new photographs, and two very special features: twelve city guides, covering Berlin, Budapest, Buenos Aires, Cairo, London, Los Angeles, Mexico City, Moscow, New York City, Paris, Shanghai, and Tokyo. Plus a foldout map with a dream itinerary for the ultimate around-the-world road trip. More a cabinet of curiosities than traditional guidebook, Atlas Obscura revels in the unexpected, the overlooked, the bizarre, and the mysterious. Here are natural wonders, like the dazzling glowworm caves in New Zealand, or a baobob tree in South Africa so large it has a pub inside where 15 people can sit and drink comfortably. Architectural marvels, including the M. C. Escher–like stepwells in India. Mind-boggling events, like the Baby-Jumping Festival in Spain—and no, it’s not the babies doing the jumping, but masked men dressed as devils who vault over rows of squirming infants. Every page gets to the very core of why humans want to travel in the first place: to be delighted and disoriented, uprooted from the familiar and amazed by the new. With its compelling descriptions, hundreds of photographs, surprising charts, maps for every region of the world, and new city guides, it is a book you can open anywhere and be transported. But proceed with caution: It’s almost impossible not to turn to the next entry, and the next, and the next. |
| center for postnatural history photos: Secret Pittsburgh: A Guide to the Weird, Wonderful, and Obscure Karyn Locke, 2020-10-01 Pittsburgh, PA is affectionately known as The Steel City and The ‘Burgh to locals, but there’s so much more to the renaissance city than just nicknames—and that includes all of the weird, wonderful, and obscure locations that make it an ideal place to visit and call home. Where can you find a road paved solely with wood or public steps that have actual street names? Is there a place in The Golden Triangle where 1 + 1 = 1? And what about putting french fries on a sandwich or pancakes fit for a U.S. President? Filled with tales of culture, history, and, of course, the bizarre, readers will delve into what makes Pittsburgh unique including an official name for the color of its prominent bridges, an acorn from space, the story behind the Pittsburgh parking chair, and even a museum dedicated to the macabre. Secret Pittsburgh is all about the stuff you simply can’t make up but would make for amazing fiction if it wasn’t. Whether you’re a first-time visitor or a true “Yinzer,” travel writer and Pittsburgh resident Karyn Locke will help you find truth behind the stories and tales that keep folks coming back—and staying put. |
| center for postnatural history photos: Creating Exhibitions Polly McKenna-Cress, Janet Kamien, 2013-09-27 “This is a must-read for the nervous novice as well as the world-weary veteran. The book guides you through every aspect of exhibit making, from concept to completion. The say the devil is in the details, but so is the divine. This carefully crafted tome helps you to avoid the pitfalls in the process, so you can have fun creating something inspirational. It perfectly supports the dictum—if you don’t have fun making an exhibit, the visitor won’t have fun using it.” —Jeff Hoke, Senior Exhibit Designer at Monterey Bay Aquarium and Author of The Museum of Lost Wonder Structured around the key phases of the exhibition design process, this guide offers complete coverage of the tools and processes required to develop successful exhibitions. Intended to appeal to the broad range of stakeholders in any exhibition design process, the book offers this critical information in the context of a collaborative process intended to drive innovation for exhibition design. It is indispensable reading for students and professionals in exhibit design, graphic design, environmental design, industrial design, interior design, and architecture. |
| center for postnatural history photos: New Art and Science Affinities Andrea Grover, 2011 New Art/Science Affinities was written and designed in one week by four authors (Andrea Grover, Régine Debatty, Claire Evans, and Pablo Garcia) and two designers (Thumb), using a rapid collaborative authoring process known as a book sprint. The topic of New Art/Science Affinities is contemporary artists working at the intersection of art, science, and technology, with explorations into maker culture, hacking, artist research, distributed creativity, and technological and speculative design. Chapters include: Program Art or Be Programmed, Subvert!, Citizen Science, Artists in White Coats and Latex Gloves, The Maker Moment, and The Overview Effect. 60 international artists and art collaboratives are featured, including Agnes Meyer-Brandis, Atelier Van Lieshout, Brandon Ballengée, Free Art and Technology (F.A.T.), Rafael Lozano-Hemmer, Openframeworks, C.E.B. Reas, Philip Ross, Tomás Saraceno, SymbioticA, Jer Thorp and Marius Watz. ISBN# 0977205347. Details: www.cmu.edu/millergallery/nasabook |
| center for postnatural history photos: The Cruel Radiance Susie Linfield, 2012-04-15 Susie Linfield addresses the issue of whether photographs depicting past scenes of violence & cruelty are voyeuristic, arguing that if we do not look & understand that we are seeing at people, rather than depersonalised acts of inhumanity, our hopes of curbing political violence today are probably limited. |
| center for postnatural history photos: Atlas Obscura Joshua Foer, Ella Morton, Dylan Thuras, 2017-10-16 ++++ Ausgezeichnet mit dem ITB BuchAward 2019 ++++ Der Atlas Obscura sieht nur auf den ersten Blick aus wie ein Reiseführer. Es ist vor allem ein Buch zum Lesen und Träumen – eine Wunderkammer voller unerwarteter, bizarrer und mysteriöser Orte, die gleichermaßen Wunderlust und Wanderlust hervorrufen. Jede einzelne Seite dieses außergewöhnlichen Buchs erweitert unseren Horizont und zeigt uns, wie wunderbar und schräg die Welt in Wirklichkeit ist. Fesselnde Texte, hunderte von fantastischen Fotos, überraschende Fakten und Karten für jede Region des Globus machen es nahezu unmöglich, nicht gleich die nächste Seite aufzuschlagen und weiterzuschmökern! Eine erstaunliche Liebeserklärung an die Welt, in der wir leben. |
| center for postnatural history photos: Dark Ecology Timothy Morton, 2016-04-12 Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Möbius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are. The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse. |
| center for postnatural history photos: The Official Museum Directory 1991 , 1990 |
| center for postnatural history photos: Becoming the One Sheleana Aiyana, 2022-06-14 Spiritual writer and founder of Rising Woman, Sheleana Aiyana takes you on a transformational inner-work journey to heal life-long relationship pattens and reclaim power over your life. Romantic relationships have the ability to infuse our lives with the magic of intimacy and connection. But for many of us, that magic is fleeting–over and over, our relationships don't last, or if they do, they fail to make us happy. We find ourselves chasing unavailable love, sublimating our needs in service to others, or trying to save our partners from themselves, all the while abandoning the one who needs us most–ourselves. If you find yourself struggling to let go after a relationship ends, or you keep hitting the same wall in dating and relationships with emotionally unavailable people, this is not a sign that you are broken. It is a sign that somewhere along the way, you learned to sacrifice yourself in order to be loved. In Becoming the One, spiritual leader and visionary founder of the Rising Woman community Sheleana Aiyana offers a roadmap for transforming your relationship patterns to end the cycle of self-abandonment and move into the light of self-discovery. You'll learn to: • build a secure, loving relationship with yourself. • connect with your inner child. • challenge your core beliefs about love. • set self-affirming boundaries. • discover and celebrate your true desires. • recognize red and green flags. Sheleana's revolutionary lessons, based on wisdom from the traumas of her past and years of guiding thousands of women around the world in her internationally acclaimed Becoming the One program of spiritual and therapeutic healing practices, teach you to embody the qualities you are seeking in others so that you can become the one for yourself. You'll learn how to trust your body, make peace with your past, and clear the path for healthy, conscious love–one that returns the authority to you to choose how to live and whom to love. The desire for love is wired into the very fibers of our being, but before you can create rewarding bonds with others, first you must stand wholeheartedly in self-acceptance. Becoming the One is an invitation to find your way home to yourself. |
| center for postnatural history photos: Space Utopia Vincent Fournier, 2019-03-12 This unique collection of photographs features over ten years of collaborations with the most important space and research centers in the world, resulting in a one-of-a-kind story of the human race to the stars. Vincent Fournier's visionary photographs provide an imaginative look at space exploration by merging fantasy with reality in images of rockets, otherwordly landscapes, research facilities, and cosmonauts. To produce these extraordinary images, Fournier has collaborated with the world's major space centers and astronomical observatories, including NASA, the European Space Agency, the Russian space agency, and the European Southern Observatory. Readers are given access to confidential locations and projects such as the NASA SLS rocket. Fournier's artistic vision creates a unique look at the history of space exploration, from the early Sputnik and Apollo programs to the future Mission on Mars. The images invite us to focus on our perceptions of space and time. Fournier questions our past and future utopias--what are our expectations for the future and has the future already happened? The evocative images document and archive while also exploring humankind's myths and fantasies about the future. |
| center for postnatural history photos: The New York Times Index , 2009 |
| center for postnatural history photos: After Nature Jedediah Purdy, 2015-09 An Artforum Best Book of the Year A Legal Theory Bookworm Book of the Year Nature no longer exists apart from humanity. Henceforth, the world we will inhabit is the one we have made. Geologists have called this new planetary epoch the Anthropocene, the Age of Humans. The geological strata we are now creating record industrial emissions, industrial-scale crop pollens, and the disappearance of species driven to extinction. Climate change is planetary engineering without design. These facts of the Anthropocene are scientific, but its shape and meaning are questions for politics—a politics that does not yet exist. After Nature develops a politics for this post-natural world. “After Nature argues that we will deserve the future only because it will be the one we made. We will live, or die, by our mistakes.” —Christine Smallwood, Harper’s “Dazzling...Purdy hopes that climate change might spur yet another change in how we think about the natural world, but he insists that such a shift will be inescapably political... For a relatively slim volume, this book distills an incredible amount of scholarship—about Americans’ changing attitudes toward the natural world, and about how those attitudes might change in the future.” —Ross Andersen, The Atlantic |
| center for postnatural history photos: Fantasies of the Library Anna-Sophie Springer, Etienne Turpin, 2018-08-28 A book that acts both as library and exhibition space, selecting, arranging, and housing texts and images, aligning itself with printed matter in the process. Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas—as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (human and machine) and features work by artists including Kader Atta, Wafaa Bilal, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, and others. The book includes an essay on the institutional ordering principles of book collections; a conversation with the proprietors of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive; and a dialogue with a new media theorist about experiments at the intersection of curatorial practice and open source ebooks. The reader emerges from this book-as-exhibition with the growing conviction that the library is not only a curatorial space but a bibliological imaginary, ripe for the exploration of consequential paginated affairs. The physicality of the book—and this book—“resists the digital,” argues coeditor Etienne Turpin, “but not in a nostalgic way.” Contributors Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Katharina Tauer, Etienne Turpin, Andrew Norman Wilson, Joanna Zylinska |
| center for postnatural history photos: To Life! Linda Weintraub, 2012-09-01 This title documents the burgeoning eco art movement from A to Z, presenting a panorama of artistic responses to environmental concerns, from Ant Farms anti-consumer antics in the 1970s to Marina Zurkows 2007 animation that anticipates the havoc wreaked upon the planet by global warming. |
| center for postnatural history photos: Field to Palette Alexandra Toland, Jay Stratton Noller, Gerd Wessolek, 2018-10-26 Field to Palette: Dialogues on Soil and Art in the Anthropocene is an investigation of the cultural meanings, representations, and values of soil in a time of planetary change. The book offers critical reflections on some of the most challenging environmental problems of our time, including land take, groundwater pollution, desertification, and biodiversity loss. At the same time, the book celebrates diverse forms of resilience in the face of such challenges, beginning with its title as a way of honoring locally controlled food production methods championed by field to plate movements worldwide. By focusing on concepts of soil functionality, the book weaves together different disciplinary perspectives in a collection of dialogue texts between artists and scientists, interviews by the editors and invited curators, essays and poems by earth scientists and humanities scholars, soil recipes, maps, and DIY experiments. With contributions from over 100 internationally renowned researchers and practitioners, Field to Palette presents a set of visual methodologies and worldviews that expand our understanding of soil and encourage readers to develop their own interpretations of the ground beneath our feet. |
| center for postnatural history photos: Free Boy Lorraine McConaghy, Judy Bentley, 2013-03-01 Free Boy is the story of a 13-year-old slave who escaped from Washington Territory to freedom in Canada on the West's underground railroad. When James Tilton came to Washington Territory as surveyor-general in the 1850s he brought with his household young Charles Mitchell, a slave he had likely received as a wedding gift from a Maryland cousin. The story of Charlie's escape in 1860 on a steamer bound for Victoria and the help he received from free blacks reveals how national issues on the eve of the Civil War were also being played out in the West. Written with young adults in mind, the authors provide the historical context to understand the lives of both Mitchell and Tilton and the time in which the events took place. The biography explores issues of race, slavery, treason, and secession in Washington Territory, making it both a valuable resource for teachers and a fascinating story for readers of all ages. A V Ethel Willis White Book |
| center for postnatural history photos: Bio Art William Myers, 2015-10-06 A visually striking, authoritative survey of the crossover between art and biotechnology by an expert in the field In an era of fast-paced technological progress and with the impact of humans on the environment increasing, the concept of “nature” itself seems called into question. Bio Art explores the work of “bio artists,” those who work with living organisms and life processes to address the possibilities and dangers posed by biotechnological advancement. A contextual introduction traces the roots of bio artistic practice, followed by four thematic chapters: Altering Nature, Experimental Identity and Mediums, Visualizing Scale and Scope, and Redefining Life. The chapters cover the key areas in which biotechnology has had an impact on today’s world, including ecology, biomedicine, designer genomes, and changing approaches to evolutionary theory, and include profiles of the work of sixty artists, collectives, and organizations from around the world. Interviews with eight leading bio artists and technologists provide deeper insight into the ideas and methods of this new breed of creative practitioners. |
| center for postnatural history photos: Post Natural History Vincent Fournier, 2019 |
| center for postnatural history photos: The Unnatural History Museum Viktor Wynd, 2020-03-10 Viktor Wynd, master of the contemporary Wunderkabinett, is back with a collection of artifacts and curiosities that are more bizarre and wonderful than ever. For over a decade, from a tiny storefront in east London, the artist Viktor Wynd has been reinventing the cabinet of curiosities for the 21st century. The Viktor Wynd Museum of Curiosities, Fine Art & UnNatural History is now one of the city's most tantalizing tourist destinations. Wynd first introduced his worldview in the book Viktor Wynd's Cabinet of Wonders, which John Waters called an insanely delightful how-to guide...told with lunatic humor and absolute joy. In this new volume, he takes readers on a tour inside his mildly-twisted mind, delving deeper into his philosophy of collecting, and describing personal connections to the objects he treasures. Written in his trademark charismatic style, which blends whimsical stories with odd facts and obscure references, this book is filled with lavish and theatrical photographs and drawings. Loosely organized into thematic chapters, it ponders the beauty of skulls and masks; explores beasts, freaks, monsters, fairies, and mermaids; covers magical plants, hallucinogens, erotica, and dandies; and dips into the world of the occult. This might not be a book for everyone. However, it is a book everyone interested in cabinets of curiosities should have on their shelf. |
| center for postnatural history photos: Machine Landscapes Liam Young, 2019-02-11 The most significant architectural spaces in the world are now entirely empty of people. The data centres, telecommunications networks, distribution warehouses, unmanned ports and industrialised agriculture that define the very nature of who we are today are at the same time places we can never visit. Instead they are occupied by server stacks and hard drives, logistics bots and mobile shelving units, autonomous cranes and container ships, robot vacuum cleaners and internet-connected toasters, driverless tractors and taxis. This issue is an atlas of sites, architectures and infrastructures that are not built for us, but whose form, materiality and purpose is configured to anticipate the patterns of machine vision and habitation rather than our own. We are said to be living in a new geological epoch, the Anthropocene, in which humans are the dominant force shaping the planet. This collection of spaces, however, more accurately constitutes an era of the Post-Anthropocene, a period where it is technology and artificial intelligence that now computes, conditions and constructs our world. Marking the end of human-centred design, the issue turns its attention to the new typologies of the post-human, architecture without people and our endless expanse of Machine Landscapes. Contributors: Rem Koolhaas, Merve Bedir and Jason Hilgefort, Benjamin H Bratton, Ingrid Burrington, Ian Cheng, Cathryn Dwyre, Chris Perry, David Salomon and Kathy Velikov, John Gerrard, Alice Gorman, Adam Harvey, Jesse LeCavalier, Xingzhe Liu, Clare Lyster, Geoff Manaugh, Tim Maughan, Simone C Niquille, Jenny Odell, Trevor Paglen, Ben Roberts. Featured interviews: Deborah Harrison, designer of Microsoft’s Cortana; and Paul Inglis, designer of the urban landscapes of Blade Runner 2049. |
| center for postnatural history photos: Making the Geologic Now Elizabeth Ellsworth, Jamie Kruse, 2012-12-01 Making the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of now. Contributors' ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer-as a partner in designing thoughts, objects, systems, and experiences. A new cultural sensibility is emerging. As we struggle to understand and meet new material realities of earth and life on earth, it becomes increasingly obvious that the geologic is not just about rocks. We now cohabit with the geologic in unprecedented ways, in teeming assemblages of exchange and interaction among geologic materials and forces and the bio, cosmo, socio, political, legal, economic, strategic, and imaginary. As a reading and viewing experience, Making the Geologic Now is designed to move through culture, sounding an alert from the unfolding edge of the geologic turn that is now propagating through contemporary ideas and practices. Contributors include: Matt Baker, Jarrod Beck, Stephen Becker, Brooke Belisle, Jane Bennett, David Benque, Canary Project (Susannah Sayler, Edward Morris), Center for Land Use Interpretation, Brian Davis, Seth Denizen, Anthony Easton, Elizabeth Ellsworth, Valeria Federighi, William L. Fox, David Gersten, Bill Gilbert, Oliver Goodhall, John Gordon, Ilana Halperin, Lisa Hirmer, Rob Holmes, Katie Holten, Jane Hutton, Julia Kagan, Wade Kavanaugh, Oliver Kellhammer, Elizabeth Kolbert, Janike Kampevold Larsen, Jamie Kruse, William Lamson, Tim Maly, Geoff Manaugh, Don McKay, Rachel McRae, Brett Milligan, Christian MilNeil, Laura Moriarity, Stephen Nguyen, Erika Osborne, Trevor Paglen, Anne Reeve, Chris Rose, Victoria Sambunaris, Paul Lloyd Sargent, Antonio Stoppani, Rachel Sussman, Shimpei Takeda, Chris Taylor, Ryan Thompson, Etienne Turpin, Nicola Twilley, Bryan M. Wilson. |
| center for postnatural history photos: Race and Photography Amos Morris-Reich, 2016-01-11 Historian Amos Morris-Reich here tracks the trajectory of racial photography from 1876 through the Weimar and Nazi periods in Germany and, briefly, after WWII. With a particular focus on German and Jewish contexts, Race and Photography reveals the important role of racial photography within academic discourse on race. Photography was not simply a medium of illustration but rather it was a conduit for new forms of visual perception. Approaching the history of racial photography from an epistemic point of view raises questions concerning the similarity and specific difference of photography compared with other scientific media, and makes explicit the scientific and cultural assumptions in which different uses of photography were embedded. Paying particular attention to the effect of photography on concepts of visual perception and also to the intricate relationship between racial photography and the imagination, Morris-Reich examines numerous scientists and scholars, both prominent and obscure, who developed photographic methods for the study of race or made methodical use of photography for its study. His careful reconstruction of individual cases, conceptual genealogies, and emergent patterns points to transformations in the scientific status of photography throughout the late nineteenth and early twentieth centuries and uncovers the agency of photographic media in the history of scientific racism. This work makes a distinctive contribution to the fields of history of science, history of photography, intellectual history, European and Jewish history, and the history of race. |
| center for postnatural history photos: Recodings Hal Foster, 1999 A Village Voice Best Book and a 'lucid and provocative work that allows us to glimpse stirrings and upheavals in the hothouse of modern art.' - Los Angeles Times |
| center for postnatural history photos: Thorsten Brinkmann Thorsten Brinkmann, 2008 Thorsten Brinkmann (*1971 in Herne) happens on the ingredients for his sculptures, photographs, and site-specific installations at dumps, materials that have been abandoned by civilization. Commonplace and bizarre materials are piled up to form pedestals and sculptures, or they are transformed into cabinets of wonders. The artist even uses his own body as an objet trouvé. For his photo series Portraits of a Serial Collector Brinkmann puts on found articles of clothing and stages himself in a setting that is likewise made of found objects. He is a juggler who places equal value on mundane things and introduces them to art in the spirit of Marcel Duchamp. This richly illustrated volume presents the first complete overview of Thorsten Brinkmann's oeuvre, an artist whose combinations of objects playfully make us conscious of the interface between the familiar and the unexpected, between the imaginable and the never-before-imagined. |
| center for postnatural history photos: Strengthening Electoral Integrity Pippa Norris, 2017-08-29 Today a general mood of pessimism surrounds Western efforts to strengthen elections and democracy abroad. If elections are often deeply flawed or even broken in many countries around the world, can anything be done to fix them? To counter the prevailing ethos, Pippa Norris presents new evidence for why programs of international electoral assistance work. She evaluates the effectiveness of several practical remedies, including efforts designed to reform electoral laws, strengthen women's representation, build effective electoral management bodies, promote balanced campaign communications, regulate political money, and improve voter registration. Pippa Norris argues that it would be a tragedy to undermine progress by withdrawing from international engagement. Instead, the international community needs to learn the lessons of what works best to strengthen electoral integrity, to focus activities and resources upon the most effective programs, and to innovate after a quarter century of efforts to strengthen electoral integrity. |
| center for postnatural history photos: Plume Kathleen Flenniken, 2013-10-11 The poems in Plume are nuclear-age songs of innocence and experience set in the empty desert West. Award-winning poet Kathleen Flenniken grew up in Richland, Washington, at the height of the Cold War, next door to the Hanford Nuclear Reservation, where every father I knew disappeared to fuel the bomb, and worked at Hanford herself as a civil engineer and hydrologist. By the late 1980s, declassified documents revealed decades of environmental contamination and deception at the plutonium production facility, contradicting a lifetime of official assurances to workers and their families that their community was and always had been safe. At the same time, her childhood friend Carolyn's own father was dying of radiation-induced illness: blood cells began to err one moment efficient the next / a few gone wrong stunned by exposure to radiation / as [he] milled uranium into slugs or swabbed down / train cars or reported to B Reactor for a quick run-in / run-out. Plume, written twenty years later, traces this American betrayal and explores the human capacity to hold truth at bay when it threatens one's fundamental identity. Flenniken observes her own resistance to facts: one box contains my childhood / the other contains his death / if one is true / how can the other be true? The book's personal story and its historical one converge with enriching interplay and wide technical variety, introducing characters that range from Carolyn and her father to Italian physicist Enrico Fermi and Manhattan Project health physicist Herbert Parker. As a child of Atomic City, Kathleen Flenniken brings to this tragedy the knowing perspective of an insider coupled with the art of a precise, unflinching, gifted poet. Watch the book trailer: https://www.youtube.com/watch?v=3iSaR9mfeeM |
| center for postnatural history photos: The impact of disasters and crises on agriculture and food security: 2021 Food and Agriculture Organization of the United Nations , 2021-03-17 On top of a decade of exacerbated disaster loss, exceptional global heat, retreating ice and rising sea levels, humanity and our food security face a range of new and unprecedented hazards, such as megafires, extreme weather events, desert locust swarms of magnitudes previously unseen, and the COVID-19 pandemic. Agriculture underpins the livelihoods of over 2.5 billion people – most of them in low-income developing countries – and remains a key driver of development. At no other point in history has agriculture been faced with such an array of familiar and unfamiliar risks, interacting in a hyperconnected world and a precipitously changing landscape. And agriculture continues to absorb a disproportionate share of the damage and loss wrought by disasters. Their growing frequency and intensity, along with the systemic nature of risk, are upending people’s lives, devastating livelihoods, and jeopardizing our entire food system. This report makes a powerful case for investing in resilience and disaster risk reduction – especially data gathering and analysis for evidence informed action – to ensure agriculture’s crucial role in achieving the future we want. |
| center for postnatural history photos: Preservation Plan Lowell Historic Preservation Commission (U.S.), 1980 ... An 8 year plan to preserve Lowell's historic and cultural resources in order to tell the story of the Industrial Revolution in the 19th century; included in the plan are mills, institutions, residences, commercial buildings and canals; describes the areas covered; discusses preservation standards, public improvements, financing, related programs, etc.; provides architectural information, dates of construction, history, plans for building reuse, etc. of specific structures in the Lowell National Historic Park and Lowell Heritage State Park ... |
| center for postnatural history photos: Before Fort Campbell M. Jay Stottman, Lori C. Stahlgren, A. Gwynn Henderson, 2021-04-28 |
| center for postnatural history photos: Learn from the Past, Create the Future Maria de Icaza, World Intellectual Property Organization, 2010-12-01 Inventions and Patents is the first of WIPO's Learn from the past, create the future series of publications aimed at young students. This series was launched in recognition of the importance of children and young adults as the creators of our future. |
| center for postnatural history photos: Land & Animal & Nonanimal Anna-Sophie Springer, Etienne Turpin, Kirsten Einfeldt, Daniela Wolf, Haus der Kulturen der Welt, 2015 |
| center for postnatural history photos: Read My Pins Madeleine Albright, 2009-09-29 “Jewelry isn’t ordinarily a tool of political persuasion, but in this beautiful book, Madeleine Albright, American ambassador to the United Nations and then the nation’s first female secretary of state, tells the compelling story of how these small objects became part of her ‘personal diplomatic arsenal.’” — The Chicago Tribune From New York Times bestselling author and former secretary of state Madeleine Albright, Read My Pins is a story and celebration of how one woman’s jewelry collection was used to make diplomatic history. Part illustrated memoir, part social history, Read My Pins provides an intimate look at Albright's life through the brooches she wore. Her collection is both international and democratic—dime-store pins share pride of place with designer creations and family heirlooms. Included are the antique eagle purchased to celebrate Albright's appointment as secretary of state, the zebra pin she wore when meeting Nelson Mandela, and the Valentine's Day heart forged by Albright's five-year-old daughter. Read My Pins features more than 200 photographs, along with compelling and often humorous stories about jewelry, global politics, and the life of one of America's most accomplished and fascinating diplomats. |
| center for postnatural history photos: The Cats of Wildcat Hill Charis Wilson, Edward Weston, 1947 |
| center for postnatural history photos: Unpleasant Design Gordan Savičić, Selena Savić, 2012 |
| center for postnatural history photos: Architecture in the Anthropocene Etienne Turpin, 2013-11-25 Research regarding the significance and consequence of anthropogenic transformations of the earth's land, oceans, biosphere and climate have demonstrated that, from a wide variety of perspectives, it is very likely that humans have initiated a new geological epoch, their own. First labeled the Anthropocene by the chemist Paul Crutzen, the consideration of the merits of the Anthropocene thesis by the International Commission on Stratigraphy and the International Union of Geological Sciences has also garnered the attention of philosophers, historians, and legal scholars, as well as an increasing number of researchers from a range of scientific backgrounds. Architecture in the Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy intensifies the potential of this multidisciplinary discourse by bringing together essays, conversations, and design proposals that respond to the geological imperative for contemporary architecture scholarship and practice. Contributors include Nabil Ahmed, Meghan Archer, Adam Bobbette, Emily Cheng, Heather Davis, Sara Dean, Seth Denizen, Mark Dorrian, Elizabeth Grosz, Lisa Hirmer, Jane Hutton, Eleanor Kaufman, Amy Catania Kulper, Clinton Langevin, Michael C.C. Lin, Amy Norris, John Palmesino, Chester Rennie, François Roche, Ann-Sofi Rönnskog, Isabelle Stengers, Paulo Tavares, Etienne Turpin, Eyal Weizman, Jane Wolff, Guy Zimmerman.--Publisher's description. |
| center for postnatural history photos: Lucha Libre, the Family Portraits Lourdes Grobet, 2009 Lourdes Grobet has documented the spectacle of Mexican professional wrestling, known as lucha libre (free fighting), for more than 25 years. The only woman to have worked in such proximity to the sport, Grobet has photographed the masked luchadores in many contexts--and always in their signature disguises, which practitioners have worn since 1942, when a wrestler named El Santo stepped into a Mexico City ring wearing a silver mask, literally changing the face of the game forever. The mask, always a symbolically rich object in Mexican culture, serves both as a retreat (into anonymity) and as an attack, as a weapon with which to disconcert and terrorize the opponent. Its visual appeal, especially when set in scenarios outside the ring, was quickly apparent to Grobet, who describes El Santo as one of the teachers that most influenced me early on. In Lucha Libre: The Family Portraits, Grobet shows the wrestlers with their mothers, wives and girlfriends, sitting for what would almost be a generic family portrait, but for the fantastic costumes of the luchadores themselves. By this simple recontextualizing gesture, we are brought to the threshold of their identities--and held there. The ungainly, monstrous and splendidly defiant stance they convey with this final preservation of anonymity is of course what gives Grobet's pictures their edge. One of Mexico's leading contemporary photographers, Lourdes Grobet was a student of artists Mathias Goeritz, Gilberto Aceves Navarro and Katy Horna, among others. For the past 20 years, she has surveyed Mexican popular culture, from female wrestling, northern emigration and neo-Mayan architecture to Cuban immigration. Her influence on younger generations of Mexican artists, including Gabriel Orozco and Rubén Ortiz Torres, has been considerable. |
| center for postnatural history photos: Landform Building Stan Allen, Marc McQuade, 2011 Green roofs, artificial mountains and geological forms; buildings you walk on or over; networks of ramps and warped surfaces; buildings that carve into the ground or landscapes lifted high into the air: all these are commonplace in architecture today. New technologies, new design techniques and a demand for enhanced environmental performance have provoked a re-thinking of architecture's traditional relationship to the ground. The book Landform Building sets out to examine the many manifestations of landscape and ecology in contemporary architectural practice: not as a cross-disciplinary phenomenon (architects working in the landscape) but as new design techniques, new formal strategies and technical problems within architecture. |
| center for postnatural history photos: Art in the Anthropocene Etienne Turpin, Dr Heather Davis, 2015-06-11 Taking as its premise that the proposed epoch of the Anthropocene is necessarily an aesthetic event, this collection explores the relationship between contemporary art and knowledge production in an era of ecological crisis. Art in the Anthropocene brings together a multitude of disciplinary conversations, drawing together artists, curators, scientists, theorists and activists to address the geological reformation of the human species. With contributions by Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud, & Ida Soulard, Laurent Gutierrez & Valerie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomas Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvere Lotringer, Peter Sloterdijk, Zoe Todd, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow. This book is also available as an open access publication through the Open Humanities Press: http: //openhumanitiespress.org/art-in-the-anthropocene.html |
| center for postnatural history photos: Second View Mark Klett, 1984 |
| center for postnatural history photos: Barroom Ballads Frank Shay, 1961 |
Center vs. Centre – What’s the Difference? - Writing Explained
As a verb, center means to position something in the middle of a predetermined area, to find a middle, or to revolve around a main topic. Here are some examples, Center your drill bit by …
Illinois Center - Wikipedia
Illinois Center is a mixed-use urban development in downtown Chicago, Illinois, USA, lying east of Michigan Avenue. It is notable in that the streets running through it have three levels. Elsewhere …
City of Chicago :: Chicago Cultural Center
Drawn by its beauty and the fabulous free public events, hundreds of thousands of visitors come to the Chicago Cultural Center every year, making it one of the most visited attractions in Chicago.
111 East Wacker (One Illinois Center) - Chicago Architecture Center
One of Mies van der Rohe’s final designs rises above a former rail yard that many years earlier was the site of Fort Dearborn. Illinois Central Railroad tracks near the Chicago River. Photo retrieved …
Home Page | United Center
Forget your personal item at the United Center? Let us know. Events & Tickets. Upcoming Events
Center or Centre–Which Is Correct? Definition and Examples - Grammarly
Sep 30, 2022 · Depending on your answer, you may differ on which spellings you favor. Center and centre have the same meaning. Center is the correct spelling in American English, while in British …
‘Center’ or ‘Centre’: What’s the Difference? - Two Minute English
Mar 28, 2024 · In American English, you’ll often see ‘center’ as the preferred spelling, while in British English, ‘centre’ dominates. These preferences have deep-rooted linguistic origins, and …
The Chicago Center – Answering Yes for 100 years.
Ever since 1922, The Chicago Center has been relentlessly answering need in Jewish Chicago, and building Chicago’s infrastructure to take on any challenge, milestone or crisis. Medical guidance, …
Illinois Center (2025) - All You Need to Know BEFORE You ... - Tripadvisor
Jul 15, 2014 · Located on land once occupied by historic Fort Dearborn and later by Illinois Central's extensive railroad yards, Illinois Center is a mixed-used urban development in downtown Chicago …
Is It Center or Centre? – Meaning and Difference in Spelling - GRAMMARIST
Center and centre are the same words, but the differences between the two lie in the American vs. English spelling preferences. Center is the preferred spelling in American English, and centre is …
Center vs. Centre – What’s the Difference? - Writing Explained
As a verb, center means to position something in the middle of a predetermined area, to find a middle, or to revolve around a main topic. Here are some examples, Center your drill bit by …
Illinois Center - Wikipedia
Illinois Center is a mixed-use urban development in downtown Chicago, Illinois, USA, lying east of Michigan Avenue. It is notable in that the streets running through it have three levels. …
City of Chicago :: Chicago Cultural Center
Drawn by its beauty and the fabulous free public events, hundreds of thousands of visitors come to the Chicago Cultural Center every year, making it one of the most visited attractions in …
111 East Wacker (One Illinois Center) - Chicago Architecture Center
One of Mies van der Rohe’s final designs rises above a former rail yard that many years earlier was the site of Fort Dearborn. Illinois Central Railroad tracks near the Chicago River. Photo …
Home Page | United Center
Forget your personal item at the United Center? Let us know. Events & Tickets. Upcoming Events
Center or Centre–Which Is Correct? Definition and Examples - Grammarly
Sep 30, 2022 · Depending on your answer, you may differ on which spellings you favor. Center and centre have the same meaning. Center is the correct spelling in American English, while in …
‘Center’ or ‘Centre’: What’s the Difference? - Two Minute English
Mar 28, 2024 · In American English, you’ll often see ‘center’ as the preferred spelling, while in British English, ‘centre’ dominates. These preferences have deep-rooted linguistic origins, and …
The Chicago Center – Answering Yes for 100 years.
Ever since 1922, The Chicago Center has been relentlessly answering need in Jewish Chicago, and building Chicago’s infrastructure to take on any challenge, milestone or crisis. Medical …
Illinois Center (2025) - All You Need to Know BEFORE You ... - Tripadvisor
Jul 15, 2014 · Located on land once occupied by historic Fort Dearborn and later by Illinois Central's extensive railroad yards, Illinois Center is a mixed-used urban development in …
Is It Center or Centre? – Meaning and Difference in Spelling - GRAMMARIST
Center and centre are the same words, but the differences between the two lie in the American vs. English spelling preferences. Center is the preferred spelling in American English, and …
