Over the past decade, the world has seen the most powerful El Ni�o ever recorded, the most devastating hurricane in two hundred years, the hottest European summer on record, and one of the worst storm seasons ever experienced in Florida. With one out of every five living things on this planet committed to extinction by the levels of greenhouse gases that will accumulate in the next few decades, we are reaching a global climatic tipping point. The Weather Makers is both an urgent warning and a call to arms, outlining the history of climate change, how it will unfold over the next century, and what we can do to prevent a cataclysmic future. Along with a riveting history of climate change, Tim Flannery offers specific suggestions for action for both lawmakers and individuals, from investing in renewable power sources like wind, solar, and geothermal energy, to offering an action plan with steps each and every one of us can take right now to reduce deadly CO2 emissions by as much as 70 percent.

    But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyperobjects”—entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art.Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning.Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, Hyperobjects takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.

    A brilliant exploration into the soiled heart of the American trash can.Into our trash cans go dead batteries, dirty diapers, bygone burritos, broken toys, tattered socks, eight-track cassettes, scratched CDs, banana peels … But where do these things go next? In a country that consumes and then casts off more and more, what actually happens to the things we throw away?

    But seeing the skeletons of oak trees killed by the salinity of the groundwater, and whole cemeteries sinking into swampland and out of sight, Tidwell also explains why each introduction may be a farewell—as the storied Louisiana coast steadily erodes into the Gulf of Mexico.Part travelogue, part environmental exposé, Bayou Farewell is the richly evocative chronicle of the author's travels through a world that is vanishing before our eyes.

    Fresh coats of paint and newly pasted posters appear overnight in cities across the world. New artists, new ideas, and new tactics displace faded images in a perpetual process of renewal and metamorphosis. From Los Angeles to Barcelona, Stockholm to Tokyo, Melbourne to Milan, wall spaces are a breeding ground for graphic and typographic forms as artists unleash their daily creations.Current graffiti art is reflective of the world around it. Using new materials and techniques, its innovators are creating a language of forms and images infused with contemporary graphic design and illustration. Fluent in branding and graphic imagery, they have been replacing tags with more personal logos and shifting from typographic to iconographic forms of communication.Street Logos is a worldwide celebration of these new developments in twenty-first-century graffiti, an essential sourcebook for all art and design professionals, and a delight to everyone excited by the vitality of the street.

    The original edition of American Photographs was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of American Photographs, made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. American Photographs has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.

    Michael Grunwald, a prize-winning national reporter for The Washington Post, takes readers on a journey from the Ice Ages to the present, illuminating the natural, social and political history of one of America's most beguiling but least understood patches of land.

    Each volume is dedicated to the work of one key photographer who, through a series of bite-sized lessons and ideas, tells you everything you always wanted to know about their approach to taking photographs. From their influences, ideas and experiences, to tech tips and best shots. The series begins with Joel Meyerowitz, who will teach you, among other essentials: How to use a camera to reclaim the streets as your own, why you need to watch the world always with a sense of possibility, how to set your subjects at ease, and the importance of being playful and of finding a lens that suits your personality.

    His powerful message, conveyed with humor, compassion, and art: to know these animals is to save them.Sartore intends to photograph every animal in captivity in the world. He is circling the globe, visiting zoos and wildlife rescue centers to create studio portraits of 12,000 species, with an emphasis on those facing extinction. He has photographed more than 6,000 already and now, thanks to a multi-year partnership with National Geographic, he may reach his goal. This book showcases his animal portraits: from tiny to mammoth, from the Florida grasshopper sparrow to the greater one-horned rhinoceros. Paired with the eloquent prose of veteran wildlife writer Douglas Chadwick, this book presents a thought-provoking argument for saving all the species of our planet.

    These landmark images now have a clarity and depth not achievable in earlier editions.

    This revised edition features a new chapter analyzing the failed response to Hurricane Katrina, a disaster Steinberg warned could happen when the book first was published. Focusing on America's worst natural disasters, Steinberg argues that it is wrong to see these tragedies as random outbursts of nature's violence or expressions of divine judgment. He reveals how the decisions of business leaders and government officials have paved the way for the greater losses of life and property, especially among those least able to withstand such blows: America's poor, elderly, and minorities. Seeing nature or God as the primary culprit, Steinberg explains, has helped to hide the fact that some Americans are simply better able to protect themselves from the violence of nature than others. In the face of revelations about how the federal government mishandled the Katrina calamity, this book is a must-read before further wind and water sweep away more lives. Acts of God is a call to action that needs desperately to be heard.

    James Hansen—the nation’s leading scientist on climate issues—speaks out for the first time with the full truth about global warming: The planet is hurtling even more rapidly than previously acknowledged to a climatic point of no return.Although the threat of human-caused climate change is now widely recognized, politicians have failed to connect policy with the science, responding instead with ineffectual remedies dictated by special interests. Hansen shows why President Obama’s solution, cap-and-trade, which Al Gore has signed on to, won’t work; why we must phase out all coal; and why 350 parts per million of carbon dioxide in the atmosphere is a goal we must achieve if our children and grandchildren are to avoid global meltdown and the horrific storms of the book’s title. This urgent manifesto bucks conventional wisdom (including the Kyoto Protocol) and is sure to stir controversy, but Hansen—whose climate predictions have come to pass again and again, beginning in the 1980s when he first warned Congress about global warming—is the single most credible voice on the subject worldwide.Hansen paints a devastating, all-too-realistic picture of what will happen in the near future, mere years and decades from now, if we follow the course we’re on. But he is also an optimist, showing that there is still time to do what we need to save the planet. Urgent, strong action is needed, and this book will be key in setting the agenda going forward to create a groundswell, a tipping point, to save humanity—and our grandchildren—from a dire fate more imminent than we had supposed.

    In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    Come with me--see what I have seen--and try to understand what global warming really means for us and for our children. Leave Washington and travel to the places I have visited..."--From the PrefaceA glacier disappears high in the Peruvian Andes. Floodwaters surge across the English countryside. Ten thousand Pacific Islanders begin to evacuate their homeland. A dust storm turns day into night across the Inner Mongolian plains. These events may seem unrelated, but they are not. Even as scientists and other experts debate the specifics, climate crisis is already affecting the lives of millions.In this ground-breaking book, Mark Lynas reveals the first evidence--collected during an epic three-year journey across five continents--about how global warming is hitting people's lives all around the world. From American hurricane chasers to Mongolian herders, from Alaskan Eskimos to South Sea islanders, Lynas's encounters and discoveries give us a stark warning about the even worse dangers that lie ahead if nothing is done.High Tide's message is urgent and its revelations are at once shocking and inspiring--shocking as so few of us yet realize the magnitude of what's happening, and inspiring as there is still time to avert much greater catastrophe. No one who reads this book will be able to look their children in the eyes and say "I didn't know."As global temperatures soar to record levels, Lynas bears witness to:- CRIPPLING DROUGHT: China's Yellow River no longer reaches the sea for half the year, and villages across the north of the country are disappearing under advancing sand dunes- BAKED ALASKA: Permafrost is melting, leaving houses, roads and whole forests sucked into the thawing ground. Winter is in retreat, leaving animals confused and Native Alaskan people without a livelihood- DISAPPEARING GLACIERS: Every glaciated mountain range on Earth is experiencing massive ice losses. Montana's Glacier National Park has lost 100 glaciers in the last century; only 50 remain. Water supplies to hundreds of millions of people--from Peru to Pakistan--are threatened- HIGH TIDES: Islanders on the tiny South Pacific nation of Tuvalu are already leaving their homeland as rising sea levels engulf their atolls. Today 70 percent of the world's sandy shorelines are retreating; up to 90 percent of the beaches on the Eastern U.S. seaboard are eroding fast- CATASTROPHIC FLOODS: English villagers now talk about a "wet season" rather than a winter. Heavier rainfall is now falling across the global mid-latitudes, from the continental U.S. to Russia, sparking devastating floods on an ever more frequent basis.

    From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendent Thomas Story Kirkbride: a central administration building flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings--and the patients who lived in them--neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors (some designed by such prominent architects as H. H. Richardson and Samuel Sloan) and crumbling interiors--chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks (who described his own experience working at a state mental hospital in his book Awakenings). Sacks pays tribute to Payne's photographs and to the lives once lived in these places, "where one could be both mad and safe."