In 2003, she moved from the city to the edge of the Cambridgeshire Fens and began to take walks in the countryside around her new home, photographing, collecting and drawing as she went. Each walk lifted her mood, proving to be as medicinal as any talking therapy or pharmaceutical.In Emma's hand-illustrated diary, she takes us with her as she follows the paths and trails around her cottage and further afield, sharing her nature finds and tracking the lives of local flora and fauna over the course of a year. Reflecting on how these encounters impact her mood, Emma's moving and candid account of her own struggles is a powerful testament to how reconnecting with nature may offer some answers to today's mental health epidemic. While charting her own seasonal highs and lows, she also explains the science behind such changes, calling on new research into such areas as forest bathing and the ways in which our bodies and minds respond to plants and wildlife when we venture outdoors.Written with Emma's characteristic wit and frankness, and filled with her beautiful drawings, paintings and photography, this is a truly unique book for anyone who has ever felt drawn to nature and wondered about its influence over us.

    Margaret Roach has been harvesting thirty years of backyard parables-deceptively simple, instructive stories from a life spent digging ever deeper-and has distilled them in this memoir along with her best tips for garden making, discouraging all manner of animal and insect opponents, at-home pickling, and more.After ruminating on the bigger picture in her memoir And I Shall Have Some Peace There, Margaret Roach has returned to the garden, insisting as ever that we must garden with both our head and heart, or as she expresses it, with "horticultural how-to and woo-woo." In THE BACKYARD PARABLES, Roach uses her fundamental understanding of the natural world, philosophy, and life to explore the ways that gardening saved and instructed her, and meditates on the science and spirituality of nature, reminding her readers and herself to keep on digging.

    Providing newly revised translations of selections from Aristotle's most important works, five lectures consider widespread topics that affect everyday people, from the natural world to human nature.

    Stunning photographs showcase creative ideas for using tillandsias mounted on walls and suspended from the ceiling. You’ll learn how to use the plants in living hair accessories and jewelry and in unique containers, like dishware, leather bowls, and baskets. Six step-by-step projects include a wood mount, a wall hook, lasso-and-hook wiring, a ceramic-frame garden, and three unique terrariums.

    

    Jacques Rancière reveals its intrinsic link to politics by analysing what they both have in common: the delimitation of the visible and the invisible, the audible and the inaudible, the thinkable and the unthinkable, the possible and the impossible. Presented as a set of inter-linked interviews, The Politics of Aesthetics provides the most comprehensive introduction to Rancière's work to date, ranging across the history of art and politics from the Greek polis to the aesthetic revolution of the modern age. Already translated into five languages, this English edition of The Politics of Aesthetics includes a new afterword by Slavoj Zizek, an interview for the English edition, a glossary of technical terms and an extensive bibliography.

    This book is about building a deeper understanding of this rangy mental terrain so that you can more productively think about and discuss aesthetic phenomena and experience in your life and in your work. Until now theoretical aesthetics has been a rather unwieldy and impractical subject. This lucid and easy-to-read book—rendered in a graphically engaging format—should be of genuine value to museum-goers, professional artists and designers, and students of the arts and crafts.This book should be of particular interest to those who have enjoyed Wabi-Sabi: for Artists, Designers, Poets & Philosophers, also by Leonard Koren.Leonard Koren trained as an artist and architect. He is the founder and publisher of WET: The Magazine of Gourmet Bathing, one of the seminal avant-garde publications of the 1970s. Koren writes and consults about design- and aesthetics-related issues.

    Sure, it's even simpler than it was before. Of course, you don't have to worry about fertilizer or poor soil ever again because you'll be growing above the ground. However, the best feature is that anyone, anywhere can enjoy a square foot garden - children, adults with limited mobility, and even complete novices can achieve spectacular results. But, let's get back to the ten improvements. You're going to love them: 1. New Location - Move your garden closer to your house by eliminating single-row gardening. Square foot gardens need just 20% of the space of a traditional garden.2. New Direction - Locate your garden on top of existing soil. Forget about pH soil tests, double-digging (who enjoys that?), or those never-ending soil improvements.3. New Soil - The new "Mel's Mix" is the perfect growing mix. We give you the recipe, and best of all, you can even buy the different types of compost needed.4. New Depth - You only need to prepare a SFG box to a depth of 6 inches! It's true - the majority of plants develop just fine when grown at this depth.5. No Fertilizer - The all new SFG does not need any fertilizer - ever! If you start with the perfect soil mix, then you don't need to add fertilizer.6. New Boxes - The new method uses bottomless boxes placed above ground. We show you how to build your own (with step-by-step photos).7. New Aisles - The ideal gardening aisle width is about three to four feet. That makes it even easier to kneel, work, and harvest.8. New Grids - Prominent and permanent grids added to your SFG box help you visualize your planting squares and properly space them for maximum harvest.9. New Seed-Saving Idea - The old-fashioned way advocates planting many seeds and then thinning the extras (that means pulling them up). The new method means planting a pinch - literally two or three seeds - per planting hole.10. Tabletop Gardens - The new boxes are so much smaller and lighter (only 6 inches of soil, remember?), you can add a plywood bottom to make them portable. Of course, that's not all. We've also included simple, easy-to-follow instructions using lots of photos and illustrations. You're going to love it!

    Dutch garden designers offer plant descriptions, color photos, tips, and resources for natural-looking, l

    Each in turn comes under scrutiny in this exhilarating dialogue between two of the most interesting thinkers working in philosophy and architecture today. From such singular objects, Jean Baudrillard and Jean Nouvel move on to fundamental problems of politics, identity, and aesthetics as their exchange becomes an imaginative exploration of the possibilities of modern architecture and the future of modern life. Among the topics the two speakers take up are the city of tomorrow and the ideal of transparency, the gentrification of New York City and Frank Gehry’s surprising Guggenheim Museum in Bilbao. As Nouvel prompts Baudrillard to reflect on some of his signature concepts (the virtual, transparency, fatal strategies, oblivion, and seduction, among others), the confrontation between such philosophical concerns and the specificity of architecture gives rise to novel and striking formulations—and a new way of establishing and understanding the connections between the practitioner and the philosopher, the object and the idea. This wide-ranging conversation builds a bridge between the fields of architecture and philosophy. At the same time it offers readers an intimate view of the meeting of objects and ideas in which the imagined, constructed, and inhabited environment is endlessly changing, forever evolving. Jean Baudrillard is one of the most influential thinkers of his generation and author of The Vital Illusion (2001). Jean Nouvel has designed buildings throughout the world, including the new Guthrie Theater in Minneapolis, and is a recipient of France’s Grand Prix d’Architecture. Robert Bononno, a translator and teacher, lives in New York City.

    Using wit, insight, and dozens of other experts, he resolves some of the most common questions about the moviesand some of the most bizarre.

    An essay collection about gardening and our relationship to nature, following on from the successful At the Pond and In the Kitchen

    It should be easy to maintain, yet full of variety and enjoyed. With the help of this unique book, readers can be their own garden designer and create an imaginative garden suited to the way they live. 590 color photographs and illustrations.

    He sent his journals, a novel-in-progess, and copies of all his poems to his mentor, Columbia professor Mark Van Doren, for safe keeping, fully expecting to write little, if anything, ever again.? It was a relatively short-lived resolution, for Merton almost immediately found himself being assigned writing tasks by his Abbot?one of which was the autobiographical essay that blossomed into his international best-seller The Seven Storey Mountain. That book made him famous overnight, and for a time he struggled with the notion that the vocation of the monk and the vocation of the writer were incompatible. Monasticism called for complete surrender to the absolute, whereas writing demanded a tactical withdrawal from experience in order to record it.? He eventually came to accept his dual vocation as two sides of the same spiritual coin and used it as a source of creative tension the rest of his life.? Merton's thoughts on writing have never been compiled into a single volume until now. Robert Inchausti has mined the vast Merton literature to discover what he had to say on a whole spectrum of literary topics, including writing as a spiritual calling, the role of the Christian writer in a secular society, the joys and mysteries of poetry, and evaluations of his own literary work. Also included are fascinating glimpses of his take on a range of other writers, including Henry David Thoreau, Flannery O'Connor, Dylan Thomas, Albert Camus, James Joyce, and even Henry Miller, along with many others.

    There's nothing cool about Céline Dion, and nothing clever. That's part of her appeal as an object of love or hatred — with most critics and committed music fans taking pleasure (or at least geeky solace) in their lofty contempt. This book documents Carl Wilson's brave and unprecedented year-long quest to find his inner Céline Dion fan, and explores how we define ourselves in the light of what we call good and bad, what we love and what we hate.