Lavishly printed in a unique quadratone mix by artisanal printer Gerhard Steidl, it offers an expanded look at "Cikáni" (Czech for "gypsies" )--109 photographs of Roma society taken between 1962 and 1971 in then-Czechoslovakia (Bohemia, Moravia and Slovakia), Romania, Hungary, France and Spain. The design and edit for this volume revisits the artist's original intention for the work, and is based on a maquette originally prepared in 1968 by Koudelka and graphic designer Milan Kopriva. Koudelka intended to publish the work in Prague, but was forced to flee Czechoslovakia, landing eventually in Paris. In 1975, Robert Delpire, Aperture and Koudelka collaborated to publish "Gitans, la fin du voyage" ("Gypsies," in the English-language edition), a selection of 60 photographs taken in various Roma settlements around East Slovakia. "Gypsies" includes more than 30 never-before-published images.

    Her lifelong friend, Ingrid, has asked her to do the impossible -- authenticate the painting from a photograph. The photograph in question was passed down to Ingrid by her grandfather, Klaus Rettke a key member of the German Einsatzstab Reichsleiter Rosenberg, the Nazi organization appointed to confiscate art from the Jews. Obscure references in Klaus Rettke's diary convince Maggie that Rettke stole the painting from the Nazis. Now she must use science to verify that the painting in the photo is genuine, something that has never been done before. From the National Gallery of Art in Washington, D.C. to the Musee du Jeu de Paume in Paris, Maggie searches for answers. Finally, she confronts the possibility that there is not one painting, but the original and several forgeries. With tens of millions of dollars at stake and a killer at large, she is determined to find the authentic Van Gogh. To do so, Maggie must stay alive . . . something that's proving difficult to do.

    It does not help that ancient religious texts have portrayed “miracles” as extraordinary events beyond the comprehension of the average person.In his latest book Allowing Divine Intervention, Richard Dotts explains how miracles and divine interventions are not reserved for the select few, but can instead be experienced by anyone willing to change their current perceptions of reality. Instead of writing another book filled with stories of other people’s miracles and tales of divine intervention which may make good bedtime reading but be of little practical help, Dotts shares the simple steps one needs to follow to experience miracles in their own lives. Miracles are deeply personal affairs that can occur on a regular basis for anyone. The Universe is so ready to intervene on our behalf that when such interventions occur, their meanings will be instantly made known and clear to us at a very deep level. Therefore, Dotts teaches that we should never use what other people’s experiences to set expectations of our own. Trying to “replicate” someone else’s “miracles” is thus a recipe for disappointment. Perhaps the most practice-oriented book ever written by Richard Dotts, Allowing Divine Intervention draws on Dotts’ own experiences, including his own struggles with depression and conflicts, and the lessons he has learnt from them. Dotts uses everyday anecdotes to explain: * How to deal with pressing problems in your life as they occur in a spiritual way* The 3-step approach to asking for divine intervention, no matter the outer circumstances or the issue* How to allow the Universe to “get through” to you with creative insights, solutions and ideas that the greatest thinkers and artists in our generation often speak of* Is it alright to ask the Universe to fulfill your “small” requests?* One kind of requests you should never ask the Universe for* What are synchronicities (a concept coined by Carl Jung), and how to allow more meaningful synchronicities in your life* The Quantum Physics “observer” effect, and how it relates to a key principle with regards to creating miracles in your life* Why you should "dial" 955 whenever you need a divine intervention, and not 911! (Understanding the 95-5 code is the fastest way to allow divine interventions into your life)And more…

    I hurled myself through the doorway and into the room. I didn’t look back.”Caught in an Ecuador hotel room with 8kg of cocaine, Pieter Tritton was no mule or dupe. He had planned and organised everything. The consequence: a 12-year sentence inside one of the world’s deadliest prison systems, where gun fights, executions and riots are a part of everyday life. As a Brit banged up abroad, Pieter had to learn how to survive – and fast – because one wrong move would mean death.This is the insider account of what it’s like to live in a place worse than hell and come out a changed man on the other side.

    Once you take storytelling into the more formal contexts of performance or occupational uses, however, you may be faced with challenges you hadn't anticipated. You need information that goes beyond the basics. And you need it in a form that does not just tell you what to do but helps you make your own informed decisions. This book is meant for the reader who has already begun to tell stories and is ready to learn more about the art. Instead of rules to follow, it gives you a series of frameworks that encourage you to think on your feet. Doug Lipman has written and taught extensively on the art of storytelling. With the same generosity and warmth that characterize his workshops, he considers the teller's relationship to the story, the teller's relationship to the audience, and the transfer of imagery in a medium that is simultaneously visual, auditory, and kinesthetic.

    It is sure to captivate stalwart enthusiasts of O'Brian's work as well as draw in new fans everywhere. With unique access to the cast and crew, Tom McGregor traces the project, from the actors' boot camp to the filming in the Galapagos Islands and on board a replica ship (in the same studio where Titanic was filmed).With exclusive photographs and interviews with key members of the cast, including Russell Crowe and Paul Bettany (A Beautiful Mind), and director Peter Weir (Dead Poets' Society, Green Card, The Truman Show), this book records the painstaking work of the crew and stars in making the film as historically accurate as possible, from replicating the uniforms of Nelson's navy to bringing the gun deck of the Surprise incredibly to life. Exclusive behind-the-scenes insight and information on the history of the project are dazzlingly showcased in this unique companion, featuring the same high production standards and imagination as the film itself.

    Each entry in this remarkable book, which represents a lifetime of teaching film, has already inspired and educated several generations of Hollywood's greatest filmmakers and writers. This book examines the patterns and principles that make films popular and memorable, and will be useful both for those who want to create films and for those who just want to understand them better. Advance Review Quotes: "Howard Suber's understanding of film storytelling fills the pages of this wise, liberating book. Much of it is surprisingly contrary to what 'everyone knows.' A remarkable work." Francis Ford Coppola

    The central figures are the Baums, a wealthy family whose fortune has vanished in the stock market crash, but their story is amplified and illuminated by brief glimpses of other lives; a farmer who has lost all in the dust bowl; a prostitute who exchanges her favors for dental work; a white Southern sheriff in thrall to a black short-order cook; a young man who dreams of success on Tin Pan Alley, etc. Moving deftly from scene to scene, some funny, some movingly poignant, the play becomes a deeply affecting evocation both of a tortured time in American history and of the indomitable spirit of the people who survived and prevailed in the face of unaccustomed adversity.

    Her parents have died, her food is dwindling and the rent is due. When a stranger arrives bearing a note from an uncle, inviting Katka to join him and his wife in America, she leaves all that she has held dear to rebuild her life across the ocean. On the voyage to New York, she becomes friends with the stranger and begins to fall in love. But at Ellis Island, they are separated when he is detained by authorities as a suspected anarchist. Alone, Katka continues her journey to her uncle’s house on the rough and tumble Iron Range in northern Minnesota. Soon she is immersed in a lively community of iron miners and begins publishing an underground newspaper about their struggles and the heroism of the women on the Iron Range, as they are swept into a tumultuous strike that will change their lives forever. “Under Ground” is a work of fiction inspired by true events.

    But the essays of Julia Kristeva in this volume, though they often deal with literature and art, do not amount to either "literary criticism" or "art criticism." Their concern, writes Kristeva, "remains intratheoretical: they are based on art and literature in order to subvert the very theoretical, philosophical, or semiological apparatus."Probing beyond the discoveries of Sigmund Freud, Jacques Lacan, Roman Jakobson, and others, Julia Kristeva proposes and tests theories centered on the nature and development of the novel, and on what she has defined as a signifying practice in poetic language and pictural works. Desire in Language fully shows what Roman Jakobson has called Kristeva's "genuine gift of questioning generally adopted 'axioms, ' and her contrary gift of releasing various 'damned questions' from their traditional question marks."

    It's a world full of dedicated and talented people in England who make beautiful things, both traditional and modern that support the wonderful crafting heritage they have in the UK. If, like her, you have ever been caught at a yard sale or antiques market and couldn't keep control of your purse, or if you're curious and want to have a rummage for the first time, then this book is for you. It's Kirstie's experience of a world which is as vast and varied as you can possibly imagine. It's about women and men who are ensuring that handmade British things are here to stay. And it's packed with their expert advice on creating your own homemade home. If you enjoyed the TV series, then the book takes it one step further with her advice on interior décor, plus the shops and websites that have transformed her life. If you didn't see the show, then welcome to her world. It's a book for mothers and daughters, and trust me, sons. If you're looking for a new hobby, there is nothing more manly than blacksmithing or glassblowing, and few projects more satisfying than flower arranging or mini cake decoration. Or if you just want a moment to yourself and something lovely to look at, then this book will not disappoint. Try it—you have nothing to lose but your flatpack furniture!

    This book is a memorial to those men and women, and in many cases it includes the last photographs they took.    Horst Faas and Tim Page, two photographers who worked and were wounded in Vietnam, have gathered many thousands of pictures by those who were killed. Their search has taken them through the archives in Hanoi as well as those of Western agencies. In some cases families have generously provided access to private files where unknown bodies of work have lain unseen for more than forty years.    The list of the dead includes some of the greatest photographers of the century, such as Robert Capa and Larry Burrows, and some who had been working in Vietnam for only a matter of days before their deaths. A number of the Cambodian photographers working for the Western press were executed. Other photographers, like Sean Flynn and Dana Stone, disappeared. Their loss inspired Tim Page to begin this memorial.    The resulting sequence of photographs follows the course of the war and the transformation of the serene landscapes of Cambodia and Vietnam into scenes of nightmarish devastation. At the moments of intense battle one is reminded not only of the courage of the photographers but of the compassion amid the brutality of war. These photographers were intimate with war to a degree that may well be denied future generations. That intimacy led to their deaths. Their photographs are their legacy.

    Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field." -Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of Spectatorship"This is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact."-Sally Tallant, Artistic Director, Liverpool Biennial"Helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art"-Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art

    Each chapter is packed with plain English tips on using flash, shooting close up photography, travel photography, shooting people, and even how to build a studio from scratch, where he demystifies the process so anyone can start taking pro-quality portraits today! Plus, he's got full chapters on his most requested topics, including loads of tips for landscape photographers, wedding photographers, and there's an entire chapter devoted to sharing some of the pro's secrets for making your photos look more professional, no matter what you're shooting.

    But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith.What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present.Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.