These marvellous and mysterious phantoms - non-existent islands, invented mountain ranges, mythical civilisations and other fictitious geography - were all at various times presented as facts on maps and atlases. This book is a collection of striking antique maps that display the most erroneous cartography, with each illustration accompanied by the story behind it.      Exploration, map-making and mythology are all brought together to create a colourful tapestry of monsters, heroes and volcanoes; swindlers, mirages and murderers. Sometimes the stories are almost impossible to believe, and remarkably, some of the errors were still on display in maps published in the 21st century. Throughout much of the 19th century more than 40 different mapmakers included the Mountains of Kong, a huge range of peaks stretching across the entire continent of Africa, in their maps - but it was only in 1889 when Louis Gustave Binger revealed the whole thing to be a fake. For centuries, explorers who headed to Patagonia returned with tales of the giants they had met who lived there, some nine feet tall. Then there was Gregor MacGregor, a Scottish explorer who returned to London to sell shares in a land he had discovered in South America. He had been appointed the Cazique of Poyais, and bestowed with many honours by the local king of this unspoiled paradise. Now he was offering others the chance to join him and make their fortune there, too - once they had paid him a bargain fee for their passage...       The Phantom Atlas is a beautifully produced volume, packed with stunning maps and drawings of places and people that never existed. The remarkable stories behind them all are brilliantly told by Edward Brooke-Hitching in a book that will appeal to cartophiles everywhere.

    The effects of homeopathy don’t go away under rigorous scientific conditions. The laws of nature aren’t what they used to be. Thirty years on, no one has an explanation for a seemingly intelligent signal received from outer space. The US Department of Energy is re-examining cold fusion because the experimental evidence seems too solid to ignore. The placebo effect is put to work in medicine while doctors can’t agree whether it even exists.In an age when science is supposed to be king, scientists are beset by experimental results they simply can’t explain. But, if the past is anything to go by, these anomalies contain the seeds of future revolutions. While taking readers on an entertaining tour d’horizon of the strangest of scientific findings – involving everything from our lack of free will to Martian methane that offers new evidence of life on the planet – Michael Brooks argues that the things we don’t understand are the key to what we are about to discover.This mind-boggling but entirely accessible survey of the outer limits of human knowledge is based on a short article by Michael Brooks for New Scientist magazine. It became the sixth most circulated story on the internet in 2005, and provoked widespread comment and compliments (Google “13 things that do not make sense” to see).Michael Brooks has now dug deeply into those mysteries, with extraordinary results.

    In the insightful How Music Works, Byrne offers his unique perspective on music - including how music is shaped by time, how recording technologies transform the listening experience, the evolution of the industry, and much more.

    Though they were often ridiculed or ignored by their contemporaries, today astonishing sums are paid for the works of these artists, whose paintings are celebrated for their ability to capture the moment, not only in the fleeting lights of a landscape but in scenes of daily life. Their dazzling pictures are familiar—but how well does the world know the Impressionists as people? The Private Lives of the Impressionists tells their story. It is the first book to offer an intimate and lively biography of the world's most popular group of artists.In a vivid and moving narrative, biographer Sue Roe shows the Impressionists in the studios of Paris, rural lanes of Montmartre and rowdy riverside bars as Paris underwent Baron Haussmann's spectacular transformation. For more than twenty years they lived and worked together as a group, struggling to rebuild their lives after the Franco-Prussian War and supporting one another through shocked public reactions to unfamiliar canvases depicting laundresses, dancers, spring blossoms and boating scenes.This intimate, colorful, superbly researched account takes us into their homes and studios, and describes their unconventional, volatile and precarious lives, as well as the stories behind the paintings.

    Here, from author Jay Williams, is the moving story of the man behind the Renaissance myth.

    The Landscape of History provides a searching look at the historian's craft, as well as a strong argument for why a historical consciousness should matter to us today.Gaddis points out that while the historical method is more sophisticated than most historians realize, it doesn't require unintelligible prose to explain. Like cartographers mapping landscapes, historians represent what they can never replicate. In doing so, they combine the techniques of artists, geologists, paleontologists, and evolutionary biologists. Their approaches parallel, in intriguing ways, the new sciences of chaos, complexity, and criticality. They don't much resemble what happens in the social sciences, where the pursuit of independent variables functioning with static systems seems increasingly divorced from the world as we know it. So who's really being scientific and who isn't? This question too is one Gaddis explores, in ways that are certain to spark interdisciplinary controversy.Written in the tradition of Marc Bloch and E.H. Carr, The Landscape of History is at once an engaging introduction to the historical method for beginners, a powerful reaffirmation of it for practitioners, a startling challenge to social scientists, and an effective skewering of post-modernist claims that we can't know anything at all about the past. It will be essential reading for anyone who reads, writes, teaches, or cares about history.

    The Architecture of Happiness starts from the idea that where we are heavily influences who we can be, and it argues that it is architecture's task to stand as an eloquent reminder of our full potential.Whereas many architects are wary of openly discussing the word beauty, this book has at its center the large and naïve question: What is a beautiful building? It is a tour through the philosophy and psychology of architecture that aims to change the way we think about our homes, our streets and ourselves.

    Contained in this volume are the following essays: Civil Disobedience, Natural History of Massachusetts, A Walk to Wachusett, The Landlord, A Winter Walk, The Succession of Forest Trees, Walking, Autumnal Tints, Wild Apples, Night and Moonlight, Aulus Persius Flaccus, Herald of Freedom, Life Without Principle, Paradise (to be) Regained, A Plea for John Brown, The Last Days of John Brown, After the Death of John Brown, The Service, Slavery in Massachusetts, and Wendell Phillips Before Concord Lyceum.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    Space is the venue of physics; it's where things exist, where they move and take shape. Yet over the past few decades, physicists have discovered a phenomenon that operates outside the confines of space and time: nonlocality-the ability of two particles to act in harmony no matter how far apart they may be. It appears to be almost magical. Einstein grappled with this oddity and couldn't come to terms with it, describing it as "spooky action at a distance." More recently, the mystery has deepened as other forms of nonlocality have been uncovered. This strange occurrence, which has direct connections to black holes, particle collisions, and even the workings of gravity, holds the potential to undermine our most basic understandings of physical reality. If space isn't what we thought it was, then what is it? In Spooky Action at a Distance, George Musser sets out to answer that question, offering a provocative exploration of nonlocality and a celebration of the scientists who are trying to explain it. Musser guides us on an epic journey into the lives of experimental physicists observing particles acting in tandem, astronomers finding galaxies that look statistically identical, and cosmologists hoping to unravel the paradoxes surrounding the big bang. He traces the often contentious debates over nonlocality through major discoveries and disruptions of the twentieth century and shows how scientists faced with the same undisputed experimental evidence develop wildly different explanations for that evidence. Their conclusions challenge our understanding of not only space and time but also the origins of the universe-and they suggest a new grand unified theory of physics. Delightfully readable, Spooky Action at a Distance is a mind-bending voyage to the frontiers of modern physics that will change the way we think about reality.Long-listed for the 2016 PEN/E. O. Wilson Literary Science Writing Award“An important book that provides insight into key new developments in our understanding of the nature of space, time and the universe. It will repay careful study.” —John Gribbin, The Wall Street Journal “An endlessly surprising foray into the current mother of physics' many knotty mysteries, the solving of which may unveil the weirdness of quantum particles, black holes, and the essential unity of nature.” —Kirkus Reviews (starred review)

    Really big. You just won't believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it's a long way down the street to the chemist, but that's just peanuts to space.' Douglas Adams, Hitch-hiker's Guide to the GalaxyWe human beings have trouble with infinity - yet infinity is a surprisingly human subject. Philosophers and mathematicians have gone mad contemplating its nature and complexity - yet it is a concept routinely used by schoolchildren. Exploring the infinite is a journey into paradox. Here is a quantity that turns arithmetic on its head, making it feasible that 1 = 0. Here is a concept that enables us to cram as many extra guests as we like into an already full hotel. Most bizarrely of all, it is quite easy to show that there must be something bigger than infinity - when it surely should be the biggest thing that could possibly be. Brian Clegg takes us on a fascinating tour of that borderland between the extremely large and the ultimate that takes us from Archimedes, counting the grains of sand that would fill the universe, to the latest theories on the physical reality of the infinite. Full of unexpected delights, whether St Augustine contemplating the nature of creation, Newton and Leibniz battling over ownership of calculus, or Cantor struggling to publicise his vision of the transfinite, infinity's fascination is in the way it brings together the everyday and the extraordinary, prosaic daily life and the esoteric.Whether your interest in infinity is mathematical, philosophical, spiritual or just plain curious, this accessible book offers a stimulating and entertaining read.

    For the past two millennia, the ability to produce it in ever more efficient ways has supported the proliferation of literacy, media, religion, education, commerce, and art; it has formed the foundation of civilizations, promoting revolutions and restoring stability. One has only to look at history’s greatest press run, which produced 6.5 billion copies of Máo zhuxí yulu, Quotations from Chairman Mao Tse-tung (Zedong)—which doesn’t include editions in 37 foreign languages and in braille—to appreciate the range and influence of a single publication, in paper. Or take the fact that one of history’s most revered artists, Leonardo da Vinci, left behind only 15 paintings but 4,000 works on paper. And though the colonies were at the time calling for a boycott of all British goods, the one exception they made speaks to the essentiality of the material; they penned the Declaration of Independence on British paper.Now, amid discussion of “going paperless”—and as speculation about the effects of a digitally dependent society grows rampant—we’ve come to a world-historic juncture. Thousands of years ago, Socrates and Plato warned that written language would be the end of “true knowledge,” replacing the need to exercise memory and think through complex questions. Similar arguments were made about the switch from handwritten to printed books, and today about the role of computer technology. By tracing paper’s evolution from antiquity to the present, with an emphasis on the contributions made in Asia and the Middle East, Mark Kurlansky challenges common assumptions about technology’s influence, affirming that paper is here to stay. Paper will be the commodity history that guides us forward in the twenty-first century and illuminates our times.

    It’ll have you scratching your head wondering why we even bother to go to school.Think Magellan was the first man to circumnavigate the globe, baseball was invented in America, Henry VIII had six wives, Mount Everest is the tallest mountain? Wrong, wrong, wrong, and wrong again. You’ll be surprised at how much you don’t know! Check out THE BOOK OF GENERAL IGNORANCE for more fun entries and complete answers to the following:How long can a chicken live without its head?About two years.What do chameleons do?They don’t change color to match the background. Never have; never will. Complete myth. Utter fabrication. Total Lie. They change color as a result of different emotional states.How many legs does a centipede have?Not a hundred.How many toes has a two-toed sloth?It’s either six or eight.Who was the first American president?Peyton Randolph.What were George Washington’s false teeth made from?Mostly hippopotamus.What was James Bond’s favorite drink?Not the vodka martini.

    This revised edition includes material that came to light after the trial, as well as Arendt’s postscript directly addressing the controversy that arose over her account. A major journalistic triumph by an intellectual of singular influence, Eichmann in Jerusalem is as shocking as it is informative—an unflinching look at one of the most unsettling and unsettled issues of the twentieth century that remains hotly debated to this day.

    Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.