This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the -unity of all living things- and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and -constructive- aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work.

    Traveling through the dizzying expanse of geologic time—from prehistoric art in Norwegian sea caves, to the blue depths of the Greenland ice cap, to a deep-sunk "hiding place" where nuclear waste will be stored for 100,000 years to come—Underland takes us on an extraordinary journey into our relationship with darkness, burial, and what lies beneath the surface of both place and mind.Global in its geography and written with great lyricism, Underland speaks powerfully to our present moment. At once ancient and urgent, this is a book that will change the way you see the world.

    

    Same handy pocket size as Banging Your Head...now in full, glorious color. As ever, the stencils and art are complemented with various commentary, thoughts and context from the man himself, together with various reviews and emails. Quite superb.

    In this new collection of essays, long time revolutionary and environmental activist Michael Löwy offers a vision of ecosocialist transformation. This vision combines an understanding of the destructive logic of the capitalist system with an appreciation for ongoing struggles, particularly in Latin America.

    military planners, climate change now poses the #1 national security threat to the United States, even before terrorism. The Internal Displacement Monitoring Centre reports that a person is four times more likely to be forced to move due to environmental disaster than by war, and in 2015 alone, 19.2 million people were displaced worldwide by environmental disasters. Droughts, fires, and floods are driving ever-larger numbers of people to cross national borders, and the problem is not just the vast numbers of people on the move, but also the legions of highly militarized border armies being deployed to stop them.In fast-paced prose, Todd Miller travels to hot spots in the United States and around the globe to investigate how environmental crisis is creating millions of climate refugees who are challenging the developed world's borders and resources. Miller explores how a sense of threat in the United States is giving rise to high-tech surveillance fortresses and fueling calls for an ever-expanding border wall. He also weaves in stories of people engaged in creative defiance of the armies, border patrols, and police being deployed to fight those in need. Miller passionately makes the case for ecological restoration, not border militarization, as the best way to achieve sustainability and security.Todd Miller's writings about the border have appeared in the New York Times, Tom Dispatch, and many other places.Praise for Storming the Wall"Nothing will test human institutions like climate change in this century—as this book makes crystal clear, people on the move from rising waters, spreading deserts, and endless storms could profoundly destabilize our civilizations unless we seize the chance to re-imagine our relationships to each other. This is no drill, but it is a test, and it will be graded pass-fail"—Bill McKibben, author Eaarth: Making a Life on a Tough New Planet"As Todd Miller shows in this important and harrowing book, climate-driven migration is set to become one of the defining issues of our time. … This is a must-read book."—Christian Parenti, John Jay College of Criminal Justice, author of Tropic of Chaos: Climate Change and the New Geography of Violence"Todd Miller reports from the cracks in the walls of the global climate security state—militarized zones designed to keep powerful elites safe from poor and uprooted peoples. … Miller finds hope—hope that may not survive in Trumpworld."—Molly Molloy, Research librarian for Latin America and the border at New Mexico State University and creator of "Frontera List""Miller delivers a prescient and sober view of our increasingly dystopian planet as the impacts of human-caused climate disruption continue to intensify."—Dahr Jamail, award-winning independent journalist, author of The End of Ice"Storming the Wall demonstrates why the struggles for social justice and ecological sustainability must be one struggle. Todd Miller's important book chronicles how existing disparities in wealth and power, combined with the dramatic changes we are causing in this planet's ecosystems, mean either we come together around our common humanity or forfeit the right to call ourselves fully human."—Robert Jensen, University of Texas at Austin, author of The End of Patriarchy, Plain Radical, and Arguing for Our Lives"Governments across the world today are planning for climate change. The problem, as Todd Miller ably shows, is that they're not planning mitigation, but militarization."—Roy Scranton, author of War Porn and Learning to Die in the Anthropocene"Here is the largely untold back story of the thousands of people turning up on our borders, and challenging the very idea of those frontiers in the process."—Mark Schapiro, author of The End of Stationarity: Searching for the New Normal in the Age of Carbon Shock

    In recent years, newspaper headlines have screamed, “Scarce water and the death of California farms,” “The Dust Bowl returns,” “A ‘megadrought’ will grip U.S. in the coming decades.” Yet similar stories have been appearing for decades and the taps continue to flow. John Fleck argues that the talk of impending doom is not only untrue, but dangerous. When people get scared, they fight for the last drop of water; but when they actually have less, they use less. Having covered environmental issues in the West for a quarter century, Fleck would be the last writer to discount the serious problems posed by a dwindling Colorado River. But in that time, Fleck has also seen people in the Colorado River Basin come together, conserve, and share the water that is available. Western communities, whether farmers and city-dwellers or US environmentalists and Mexican water managers, have a promising record of cooperation, a record often obscured by the crisis narrative. In this fresh take on western water, Fleck brings to light the true history of collaboration and examines the bonds currently being forged to solve the Basin’s most dire threats. Rather than perpetuate the myth “Whiskey's for drinkin', water's for fightin' over," Fleck urges readers to embrace a new, more optimistic narrative—a future where the Colorado continues to flow.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    But our bins are just the starting point for a strange, impressive, mysterious, and costly journey that may also represent the greatest untapped opportunity of the century. In Garbology, Edward Humes investigates trash—what’s in it; how much we pay for it; how we manage to create so much of it; and how some families, communities, and even nations are finding a way back from waste to discover a new kind of prosperity. Along the way , he introduces a collection of garbage denizens unlike anyone you’ve ever met: the trash-tracking detectives of MIT, the bulldozer-driving sanitation workers building Los Angeles’ Garbage Mountain landfill, the artists residing in San Francisco’s dump, and the family whose annual trash output fills not a dumpster or a trash can, but a single mason jar.  Garbology reveals not just what we throw away, but who we are and where our society is headed. Waste is the one environmental and economic harm that ordinary working Americans have the power to change—and prosper in the process.

    Beginning his epic study with Baudelaire, whose lurid poetry scandalized French stalwarts, Gay traces the revolutionary path of modernism from its Parisian origins to its emergence as the dominant cultural movement in world capitals such as Berlin and New York. A work unique in its breadth and brilliance, Modernism presents a thrilling pageant of heretics that includes (among others) Oscar Wilde, Pablo Picasso, and D. W. Griffiths; James Joyce, Virginia Woolf, and T. S. Eliot; Walter Gropius, Arnold Schoenberg, and (of course!) Andy Warhol. Finally, Gay examines the hostility of totalitarian regimes to modernist freedom and the role of Pop Art in sounding the death knell of a movement that dominated Western culture for 120 years. Lavishly illustrated, Modernism is a superlative achievement by one of our greatest historians.

    Wilczek’s groundbreaking work in quantum physics was inspired by his intuition to look for a deeper order of beauty in nature. In fact, every major advance in his career came from this intuition: to assume that the universe embodies beautiful forms, forms whose hallmarks are symmetry—harmony, balance, proportion—and economy. There are other meanings of “beauty,” but this is the deep logic of the universe—and it is no accident that it is also at the heart of what we find aesthetically pleasing and inspiring.Wilczek is hardly alone among great scientists in charting his course using beauty as his compass. As he reveals in A Beautiful Question, this has been the heart of scientific pursuit from Pythagoras, the ancient Greek who was the first to argue that “all things are number,” to Galileo, Newton, Maxwell, Einstein, and into the deep waters of twentiethcentury physics. Though the ancients weren’t right about everything, their ardent belief in the music of the spheres has proved true down to the quantum level. Indeed, Wilczek explores just how intertwined our ideas about beauty and art are with our scientific understanding of the cosmos.Wilczek brings us right to the edge of knowledge today, where the core insights of even the craziest quantum ideas apply principles we all understand. The equations for atoms and light are almost literally the same equations that govern musical instruments and sound; the subatomic particles that are responsible for most of our mass are determined by simple geometric symmetries. The universe itself, suggests Wilczek, seems to want to embody beautiful and elegant forms. Perhaps this force is the pure elegance of numbers, perhaps the work of a higher being, or somewhere between. Either way, we don’t depart from the infinite and infinitesimal after all; we’re profoundly connected to them, and we connect them. When we find that our sense of beauty is realized in the physical world, we are discovering something about the world, but also something about ourselves.Gorgeously illustrated, A Beautiful Question is a mind-shifting book that braids the age-old quest for beauty and the age-old quest for truth into a thrilling synthesis. It is a dazzling and important work from one of our best thinkers, whose humor and infectious sense of wonder animate every page. Yes: The world is a work of art, and its deepest truths are ones we already feel, as if they were somehow written in our souls.

    This methodology revealed distinct cyclical patterns that were used to provide the foundation for his forecasting. The wonderful advances in science add to the mix, but are tools to use, not answers that should automatically be accepted as we see with the climate agenda. The lesson in weather, in history, in anything, is that the foundation you stand on today is built from yesterday to reach for tomorrow. The book examines the clash between that philosophy and one that minimizes lessons of the past, or ignores them, and uses climate and weather to simply further an agenda that has very little to do with either. An uncurious media is a willing accomplice in advancing the missive to the population, The Climate Chronicles reveals that clash in an effort to get the reader to search beyond what they are told. As such its a must read for those seeking not an agenda driven answer, but the right answer, wherever it may lead them. Bastardi's goal is not to get you to blindly accept what he says, but to dig in and examine for yourself. The book shows, given the implications of not doing so, more is at stake than just tomorrows weather.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    In this multifarious underground, Pynchonesque misfits rant and rave, fans eulogize, hobbyists obsess. Together they form a low-tech publishing network of extraordinary richness and variety. Welcome to the realm of zines.In this, the first comprehensive study of zine publishing, Stephen Duncombe describes their origins in early-twentieth-century science fiction cults, their more proximate roots in 60s counter-culture and their rapid proliferation in the wake of punk rock. While Notes from Underground pays full due to the political importance of zines as a vital web of popular culture, it also notes the shortcomings of their utopian and escapist outlook in achieving fundamental social change. Duncombe’s book raises the larger questionof whether it is possible to rebel culturally within a consumer society that eats up cultural rebellion.Packed with extracts and illustrations from a wide array of publications, past and present, Notes from Underground is the first book to explore the full range of zine culture and provides a definitive portrait of the contemporary underground in all its splendor and misery.

    Starting from Plato’s fateful division of the world into spirit and matter, her analysis of how patriarchal Western philosophy and religion have used language and science to bolster their power over both women and nature is brilliant and persuasive, coming alive in poetic prose.Griffin draws on an astonishing range of sources—from timbering manuals to medical texts to Scripture and classical literature—in showing how destructive has been the impulse to disembody the human soul, and how the long separated might once more be rejoined. Poet Adrienne Rich calls Woman and Nature “perhaps the most extraordinary nonfiction work to have merged from the matrix of contemporary female consciousness—a fusion of patriarchal science, ecology, female history and feminism, written by a poet who has created a new form for her vision. ...The book has the impact of a great film or a fresco; yet it is intimately personal, touching to the quick of woman’s experience.”