Its coverage and color capture the authors' lasting excitement for the period and its artists. A three-part organization covers international currents in the Fourteen Century, Fifteenth-Century Innovations, and Renaissance and Reformation in the Sixteenth Century. For a complete understanding of Northern Renaissance Art--its geography, patronage, and audience expectations.

    However, before you can decide on a cloud model, you need to determine what the ideal cloud service model is for your business. Helping you cut through all the haze, Architecting the Cloud is vendor neutral and guides you in making one of the most critical technology decisions that you will face: selecting the right cloud service model(s) based on a combination of both business and technology requirements.Guides corporations through key cloud design considerations Discusses the pros and cons of each cloud service model Highlights major design considerations in areas such as security, data privacy, logging, data storage, SLA monitoring, and more Clearly defines the services cloud providers offer for each service model and the cloud services IT must provide Arming you with the information you need to choose the right cloud service provider, Architecting the Cloud is a comprehensive guide covering everything you need to be aware of in selecting the right cloud service model for you.

    Kundig's projects, especially his houses, uniquely combine these two seemingly disparate sets of characteristics to produce some of the most inventive structures found in the architecture world today. Kundig's internationally acclaimed work is inspired by both the industrial structures with which he grew up in the Pacific Northwest and the vibrant craft cultures that are fostered there. His buildings uniquely meld industrial sensibilities and materials such as Cor-ten steel and concrete with an intuitive understanding of scale. As Kundig states, "The idea is insaperable from the fabrication, inseparable from the materials used."Tom Kundig: Houses presents five projects in depth, from their early conceptual sketches to their final lovingly wrought, intimate details. Kundig's houses reflect a sustained and active collaborative process between designer, craftsmen, and owners, resulting in houses that bring to life the architect's intentions, the materials used, and lines of unforgettable beauty.

    Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole.... So begins the competition entry submitted in 1981 by a Yale undergraduate for the design of the Vietnam Veterans Memorial in Washington, D.C. -- subsequently called "as moving and awesome and popular a piece of memorial architecture as exists anywhere in the world." Its creator, Maya Lin, has been nothing less than world famous ever since. From the explicitly political to the un-ashamedly literary to the completely abstract, her simple and powerful sculpture -- the Rockefeller Foundation sculpture, the Southern Poverty Law Center Civil Rights Memorial, the Yale Women's Table, Wave Field -- her architecture, including The Museum for African Art and the Norton residence, and her protean design talents have defined her as one of the most gifted creative geniuses of the age. Boundaries is her first book: an eloquent visual/verbal sketchbook produced with the same inspiration and attention to detail as any of her other artworks. Like her environmental sculptures, it is a site, but one which exists at a remove so that it may comment on the personal and artistic elements that make up those works. In it, sketches, photographs, workbook entries, and original designs are held together by a deeply personal text. Boundaries is a powerful literary and visual statement by "a leading public artist" (Holland Carter). It is itself a unique work of art.

    Every age, for the last 50,000 years has left its unique imprint on the world, and from the first cave paintings to the ceiling of the Sistine Chapel, from the Byzantine mosaics of the Hagia Sophia, to the graffiti-inspired paintings of Jean-Michel Basquiat, art history tells the story of our evolving notions of who and what we are and our place in the universe. Whether you're an art enthusiast who'd like to know more about the history behind your favorite works and artists, or somebody who couldn't tell a Titian and a De Kooning--but would like to--Art History For Dummies is for you. It takes you on a tour of thirty millennia of artistic expression, covering the artistic movements, major artists, and indispensable masterworks, and the world events and cultural trends that helped spawn them. With the help of stunning black-and-white photos throughout, and a sixteen-page gallery of color images, it covers:The rise and fall of classical art in Greece and Rome The differences between Renaissance art and Mannerism How the industrial revolution spawned Romanticism How and why Post-Impression branched off from Impressionism Constructivism, Dadaism, Surrealism and other 20th century isms What's up with today's eclectic art scene Art History For Dummies is an unbeatable reference for anyone who wants to understand art in its historical context.

    Dylan has read this book cover to cover and discusses its uncomfortable contents with the author at length!Though a veritable publishing industry has followed in Scaduto's wake, arguably no-one since has come as close to revealing the true nature of the man behind the shades."Pioneering portrait of this legendarily elusive artist. Now in a welcome reprint, it's a real treat to read this still-classic Bobography."- Q ***** Five Stars!"A classic!"-Paul Williams, author of Bob Dylan: Performing Artist"Pioneers are often written out of history but never let it be forgotten that Scaduto was the man. It's scandalous that this book has been out of print for so many years. Its return should be greeted with dancing in the street."-Jimmy Rogan, from the foreword"The author's triumph was that ultimately he persuaded Dylan to talk."-Liz Thompson, editor of the Dylan Companion"I read it. Some of it is pretty straight, some of it exactly the way it happened… I rather enjoyed it."-Bob Dylan

    Now newly published in paperback with an extensive list of web links to wrongful conviction sources internationally, "False Justice "is ideal for use in a wide array of criminal justice and criminology courses.Myth 1: Everyone in prison claims innocence. In fact, guilt is usually clear and undisputed either because the criminal was caught in the act, left substantial evidence, or made the decision to take a plea. While taking a plea does not assure guilt, often a combination of the above reveals the soundness of the defendant s decision to plead rather than go to trial. Lauren McGarity, a mediator, conflict resolution expert, and educator who has worked with hundreds of Ohio inmates for ten years, dispelled this myth for us in "False Justice."Myth 2: Our system almost never convicts an innocent person. We mined and share the research and opinion of both conservatives and liberals, and we have concluded that the 311 persons exonerated of serious felonies to date, December 12, 2013, by DNA technology (which was first employed in criminal forensics in the U.S. in the late 1980s) must be the tip of the iceberg, a phrase commonly mentioned in our research. Following the Elkins experience, Nancy and I suspected a substantial number of innocent people in our prisons, but our research required that we frequently revise our thinking upward. Estimates have ranged from, conservatively, about one thousand to as many as tens of thousands of innocent people in American prisons today. We believe and research and logic suggest that our system convicts innocent persons far more frequently than most imagine and that most Americans, if more fully informed, would consider this a national travesty.Myth 3: Only the guilty confess. Stephen Boorn confessed to a murder in Manchester, Vermont, even though there was no trace of evidence, including a body. Boorn is not alone. "False Justice" explores what prompted Christopher Ochoa and others falsely accused of murder to incriminate themselves. We explore why the Miranda warning failed in these cases to provide intended protections.Myth 4: Wrongful conviction is the result of innocent human error. As chief legal officer of Ohio, I supervised a staff of 1,250, including 350 lawyers, who managed more than 35,000 active legal cases at a time. Yet I was totally unaware of the extent of wrongful criminal conviction, and was disappointed to learn that misconduct by police and prosecutors has contributed to many wrong verdicts. In the first edition of "False Justice" we noted that official misconduct was identified early as a contributor in DNA-proven wrongful convictions. Prosecutorial misconduct was a factor in thirty-three of the first seventy-four DNA exonerations (44.6 percent) and police misconduct was present in thirty-seven, or exactly half of those cases.3 Subsequent exonerations have supported the finding that official misconduct is a significant contributor to wrongful conviction. The National Registry of Exonerations reports at this writing (Dec. 14, 2013) 564 known cases of official misconduct both police and prosecutor and in some cases both in its universe of 1,262 exonerations, or in 44.6 percent of known exonerations since 1989.4 This book challenges thinking on what tactics should and should not be dismissed as "human error."Myth 5: An eyewitness is the best testimony. Mistaken eyewitness testimony, a contributor in 75 percent of wrongful convictions, was the prevailing contributor to wrongful conviction in the cases of Elkins, Green, Gillispie, and others included in the book. "False Justice" shares highlights of what we now know about memory and how this has shaped legislative and procedural reforms that will enable more accurate capture of eyewitness testimony.Myth 6: Conviction errors get corrected on appeal. The long, difficult, and expensive struggle to reverse a conviction is demonstrated in the Boorn, Elkins, Green, and Gillispie cases. Our appeals process addresses only certain errors that may have occurred in preparation of the case or in the courtroom. Post-conviction relief is difficult to attain in a system that properly seeks finality in the criminal process. The other route to correcting a conviction error is through new evidence, which, as indicated in Elkins and Gillispie, must meet specific requirements that are very difficult to achieve.Myth 7: It dishonors the victim to question a conviction. "False Justice" reveals that, contrary to a popular opinion, only a minority of convicted persons claim innocence and represent cases that are worthy of post-conviction DNA analysis. Prosecutors who oppose access to post-conviction DNA evidence, which could conclusively prove guilt or innocence, frequently claim that this would dishonor the victim. Public safety requires that we abandon this myth, or understand that by allowing the real perpetrators to escape justice, we contribute to an increase in crime and victims. How does "that" honor victims?Myth 8: If the justice system has problems, the pros will fix them. While most men and women who work in the criminal justice system are well meaning, committed, and deserving of our respect, they typically do not have the authority, resources, perspective, time, or inclination to change the system. "False Justice" recommends reforms achieved through legislation, policy, and court opinion. However, these will not occur with any urgency until conventional wisdom catches up with the truths revealed in this DNA age. Therefore, it will take us everyday American citizens not the pros, to accelerate this process. By abandoning myths and advocating reforms, we will not only reduce the destruction that comes with wrongful conviction but will also make the United States safer."

    In this handy guidebook, the authors contend that you manage your boss for a very good reason: to do your best on the job—and thereby benefit not only yourself but also your supervisor and your entire company. Your boss depends on you for cooperation, reliability, and honesty. And you depend on him or her for links to the rest of the organization, for setting priorities, and for obtaining critical resources. By managing your boss—clarifying your own and your supervisor's strengths, weaknesses, goals, work styles, and needs—you cultivate a relationship based on mutual respect and understanding. The result? A healthy, productive bond that enables you both to excel. Gabarro and Kotter provide valuable guidelines for building this essential relationship—including strategies for determining how your boss prefers to process information and make decisions, tips for communicating mutual expectations, and tactics for negotiating priorities. Thought provoking and practical, Managing Your Boss enables you to lay the groundwork for one of the most crucial working relationships you'll have in your career.

    Heatherwick is known as one of the greatest innovators of our era, and for the first time, this publication provides an inside look at the creation and development of his projects. It answers the one question always asked of Heatherwick's work: How did he do that? The book covers the studio's complete output over more than fifteen years—some 170 projects—including designs large and small: zippered bags that can be expanded to five times their size, a bridge that rolls open and closed, the in-progress one-million-square-foot mall in Hong Kong and glass bridge in London.

    Along with commercial and dwelling units, temples, palaces, and cathedrals, Zevi treats structures such as fountains, columns, and monuments, subjecting them all to aesthetic, cultural, and functional criteria and explaining them in easily understood terms. Beautifully illustrated with examples from the entire history of the art, this is one of the most stimulating and provocative books ever written on the history and purpose of architecture.

    You no longer use HTML and XHTML as design tools, but strictly as ways to define the meaning and structure of web content. And Cascading Style Sheets (CSS) are no longer just something interesting to tinker with, but a reliable method for handling all matters of presentation, from fonts and colors to page layout. When you follow the standards, both the site's design and underlying code are much cleaner. But how do you keep all those HTML and XHTML tags and CSS values straight? Jennifer Niederst-Robbins, the author of our definitive guide on standards-compliant design, Web Design in a Nutshell, offers you the perfect little guide when you need answers immediately: HTML and XHTML Pocket Reference. This revised and updated new edition takes the top 20% of vital reference information from her Nutshell book, augments it judiciously, cross-references everything, and organizes it according to the most common needs of web developers. The result is a handy book that offers the bare essentials on web standards in a small, concise format that you can use carry anywhere for quick reference. This guide will literally fit into your back pocket. Inside HTML and XHTML Pocket Reference, you'll find instantly accessible alphabetical listings of every element and attribute in the HTML 4.01 and XHTML 1.0 Recommendations. This is an indispensable reference for any serious web designer, author, or programmer who needs a fast on-the-job resource when working with established web standards.

    This fun and creative book features 52 map-related activities set into weekly exercises, beginning with legends and lines, moving through types and styles, and then creating personalized maps that allow you to journey to new worlds. Authors Jill K. Berry and Linden McNeilly guide readers through useful concepts while exploring colorful, eye-catching graphics. The labs can be used as singular projects or to build up to a year of hands-on creative experiences. Map Art Lab is the perfect book for map lovers, creative/DIY-inspired, designers. Artists of all ages and experience levels can use this book to explore enjoyable and engaging exercises. Everyone loves maps. And what's not to love? They are beautiful and fascinating, they teach you things, they show you where you are, places you long to go, and places you dare to imagine.

    Documents, workshop products from all areas of design, studies, sketches in the classroom, and architectural plans and models are all part of its comprehensive inventory. The Bauhaus Archiv is dedicated to the study and presentation of the history of the Bauhaus, including the new Bauhaus in Chicago and the Hochschule f

    Aesthetics entered into everyday life with often staggering results. Our homes and workplaces turned into veritable galleries of style and innovation. From furniture to graphics, it's all here?the work of artists who have shaped and recreated the modern world with a dizzying variety of materials. From the organic to the geometric, from Art Deco, through to Pop and High-Tech, this book contains all the great names - Bernhard, Bertoia, De Stijl, Dieter Rams, Starck, Charles and Ray Eames, to name only a very few. This essential book is a comprehensive journey through the shapes and colours, forms and functions of design history in the 20th century. An A-Z of designers and design schools, which builds into a complete picture of contemporary living.

    Cloud computing is rapidly transitioning from a niche technology embraced by startups and tech-forward companies to the foundation upon which enterprise systems build their future. In order to compete in today’s marketplace, organizations large and small are embracing cloud architectures and practices.