You are missing what is happening in the distance and right in front of you. In reading these words, you are ignoring an unthinkably large amount of information that continues to bombard all of your senses. The hum of the fluorescent lights; the ambient noise in the room; the feeling of the chair against your legs or back; your tongue touching the roof of your mouth; the tension you are holding in your shoulders or jaw; the constant hum of traffic or a distant lawnmower; the blurred view of your own shoulders and torso in your peripheral vision; a chirp of a bug or whine of a kitchen appliance.On Looking begins with inattention. It is not meant to help you focus on your reading of Tolstoy; it is not about how to multitask. Rather, it is about attending to the joys of the unattended, the perceived "ordinary." Horowitz encourages us to rediscover the extraordinary things that we are missing in our ordinary activities. Even when engaged in the simplest of activities - taking a walk around the block - we pay so little attention to most of what is right before us that we are sleepwalkers in our own lives. So turn off the phone and portable electronics and get into the real world, where you'll find there are worlds within worlds within worlds.

    It was a shock to Williams to discover that her mother had kept journals. But not as much of a shock as what she found when the time came to read them.  “They were exactly where she said they would be: three shelves of beautiful cloth-bound books . . . I opened the first journal. It was empty. I opened the second journal. It was empty. I opened the third. It too was empty . . . Shelf after shelf after shelf, all of my mother’s journals were blank.” What did Williams’s mother mean by that? In fifty-four chapters that unfold like a series of yoga poses, each with its own logic and beauty, Williams creates a lyrical and caring meditation of the mystery of her mother's journals. When Women Were Birds is a kaleidoscope that keeps turning around the question “What does it mean to have a voice?”

    Pure Sea Glass surveys the history of glass manufacturing, explains the weathering process that creates frosted gems from fragile shards of old glass and tableware, and offers tips on how and where to find the best pieces. More than 200 exquisite photographs bring to light the luminous beauty of authentic sea glass.

    The book unveils a truth of universal importance, namely, by helping others in need we can become their miracles.

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    It includes a dozen rare images, most never before seen.

    The book focuses on how to save the ancient water resources which have been neglected for quite a long time in India. This book holds a place in the list of best thirty books that have been published so far. This book has been translated in almost all Indian languages and quite a few foreign languages as well. There also exists a Braille version of this book. When it got published, it attracted the attention of a huge chunk of people and around two lac copies of books are known to have reached people across various places. The book, basically a report based book talks about how every household in arid regions could have their own water harvesting facility, a technique that has been in place for centuries. His approach towards life was something we do not find easily in the modern times. Moreover, this book has no copyright and can be reprinted and republished as and when one wants to. It is intriguing as to how this book could have had such an impact on the public, and on the society as a whole.

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

    She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right.Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses questions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything changes--and this had taken the fight out of us somewhat."Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith.

    Martin identified with the Abstract Expressionists but her commitment to linear geometry caused her to be associated in turn with Minimalist, feminist, and even outsider artists. She moved through some of the liveliest art communities of her time while maintaining a legendary reserve. I paint with my back to the world, she says both at the beginning and at the conclusion of a documentary filmed when she was in her late eighties. When she died at ninety-two, in Taos, New Mexico, it is said she had not read a newspaper in half a century. No substantial critical monograph exists on this acclaimed artist the recipient of two career retrospectives as well as the National Medal of the Arts who was championed by critics as diverse in their approaches as Lucy Lippard, Lawrence Alloway, and Rosalind Krauss. Furthermore, no attempt has been made to describe her extraordinary life. The whole engrossing story, told here for the first time, Agnes Martin is essential reading for anyone interested in abstract art or the history of women artists in America."

    In this easy-to-navigate A to Z guide, the authors’ playful explanations draw on key artworks, artists, and events from around the globe, including how the lights going on and off won the Turner Prize, what makes the likes of Marina Abramovic and Ai Weiwei such great artists, and why Kanye West would trade his Grammys to be one.Packed with behind-the-scenes information and completely free of jargon, Who’s Afraid of Contemporary Art? is the perfect gallery companion and the go to guide for when the next big thing leaves you stumped.

    The "Getting Started" section will give you a great overview and help explain some things for the very beginner. Next, learn some easy stitch patterns in the section "Basic Stitches." When you're ready to try your first project, take a look at the "Potholder Patterns" section, but make sure to read the "Pattern Information & Notes" first for some important stuff that pertains to all the patterns. The ebook is also filled with photos to help you along your way.Why Potholders?Potholders are a great project to work with Tunisian crochet because:• The back/wrong side is hidden between the two layers• Tunisian crochet makes a very thick final product• Working square shapes is easy for the beginnerHave fun, and happy hooking to you!

    Originally published in 1986, this dark, democratic environment provided the setting for photographer Bruce Davidson's first extensive series in color. Subway riders are set against a gritty, graffiti-strewn background, displayed in tones Davidson described as "an iridescence like that I had seen in photographs of deep-sea fish." Never before has the subway been portrayed in such detail, revealing the interplay of its inner landscape and out vistas. The images include lovers, commuters, tourists, families, and the homeless. From weary straphangers to languorous ladies in summer dresses to stalking predators, Davidson's compassionate vision illuminates the stubborn survival of humanity. From the spring of 1980 to 1985, Davidson explored and shot six hundred miles of subway tracks. In his own words, "I wanted to transform this subway from its dark, degrading, and impersonal reality into images that open up our experience again to the color, sensuality, and vitality of the individual souls that ride it each day." Now nearly 25 years later, and on the eve of the subway's 100th anniversary, St. Ann's Press is publishing a new edition of Davidson's classic book. This edition adds forty unseen images to the original book, and includes a new introduction by Arthur Ollman of the Museum of Photographic Art in San Diego, and a foreword by Fred Braithwaite (aka Fab Five Freddy), the original graffiti artist. It also includes Bruce Davidson and Henry Geldzahler's original essays.

    It explains how it was a premeditated, orchestrated deception, using science to impose a political agenda. It fooled a majority including most scientists. They assumed that other scientists would not produce science for a political agenda. German Physicist and meteorologist Klaus-Eckart Puls finally decided to look for himself. Here is what he discovered. Ten years ago I simply parroted what the IPCC told us. One day I started checking the facts and data—first I started with a sense of doubt but then I became outraged when I discovered that much of what the IPCC and the media were telling us was sheer nonsense and was not even supported by any scientific facts and measurements. To this day I still feel shame that as a scientist I made presentations of their science without first checking it.…scientifically it is sheer absurdity to think we can get a nice climate by turning a CO2 adjustment knob. This book uses the same approach used in investigative journalism. It examines the Who, What, Where, When, Why, and How.

    Traversing past and present, Belonging charts a cyclical journey in which hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home. hooks has written provocatively about race, gender, and class; and in this book she turns her attention to focus on issues of land and land ownership. Reflecting on the fact that 90% of all black people lived in the agrarian South before mass migration to northern cities in the early 1900s, she writes about black farmers, about black folks who have been committed both in the past and in the present to local food production, to being organic, and to finding solace in nature. Naturally, it would be impossible to contemplate these issues without thinking about the politics of race and class. Reflecting on the racism that continues to find expression in the world of real estate, she writes about segregation in housing and economic racialized zoning. In these critical essays, hooks finds surprising connections that link the environment and sustainability to the politics of race and class that reach far beyond Kentucky.With characteristic insight and honesty, Belonging offers a remarkable vision of a world where all people--wherever they may call home--can live fully and well, where everyone can belong.