You may not be able to put your finger on it, but you sense it instinctively.How can you not sense it? For the first time ever, both the majority of the younger and the older generations of America now believe that future generations will not be as prosperous as their parents’ generation was. And that’s only the economic pessimism. On the social and cultural fronts, how many of us can truly say that we are proud are what our society has degenerated to?Make no mistake; the America we once knew has indeed been murdered. How did we arrive at this point of perpetual debt, perpetual inflation, massive taxation, chronically high unemployment, disintegrating families, massive dependency on the state, perpetual war, and ever-worsening moral degeneracy, mass psychological depression, and cultural degradation?Who did it? Why did they do it? How did they do it? How was the ‘murder’ concealed from the American people?Through the use of 40 clear, concise and very easy-to-digest illustrated ‘blurbs’ (The 40 Wounds), Killing America: The 100 Year Murder will answer those questions for you. This is a mass-distribution booklet designed for ‘crash-course’ simplicity. Please share it with others.

    We enter a phase of life that we have no preparation for. No one tell us how to live with a life threatening illness or what to expect when cure is no longer possible and we are dealing with the ending of life.The End of Life Guideline Series is a compilation of Barbara Karnes’ four booklets on end of life. Beginning with the guidance A Time To Life offers to a person who has been diagnosed with a life threatening illness. The End of Life Guideline Series progresses to Gone From My Sight , The Hospice Blue Book, which explains the signs of approaching death that begin months before death from disease and leads a family to the moment of death.The Eleventh Hour offers information, ideas and support for a caregiver/family member who are often alone as their loved one is dying, on how to care for a person in the hours to minutes before death and just after.The final section of this complication is an exploration of the normal grieving process. What are the emotions and feelings that will surface as we grieve the loss of someone we care about and how will those emotions show themselves? The aim of this series is to neutralize some of the fear that an unpredictable future may bring. Knowledge of the dying process and it’s natural and normal unfolding can help create a meaningful and comforting experience as a loved one journeys from life. It is written in a simple, direct yet gentle manner. It is a short and valuable read.Following a death we often have questions about the disease progression and concerned memories. The End of Life Guideline Series gives knowledge of the natural, normal process of dying and grief. You can find comfort in it’s knowledge even if someone you care about has died years before.

    In addition to a new introduction by Jack Flam, The Collected Writings includes previously unpublished essays by Smithson and gathers hard-to-find articles, interviews, and photographs. Together these provide a full picture of his wide-ranging views on art and culture.

    In Formless: A User's Guide, Yve-Alain Bois and Rosalind Krauss present a rich and compelling panorama of the formless. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a job. The job of Formless: A User's Guide is to explore the power of the informe. A stunning new map of twentieth-century art emerges from this reconceptualization and from the brilliantly original analyses of the work of Jackson Pollock, Andy Warhol, Cy Twombly, Lucio Fontana, Cindy Sherman, Claes Oldenburg, Jean Dubuffet, Robert Smithson, and Gordon Matta-Clark, among others.

    Magee does a great job of balancing the various aspects of the history of philosophy that may be of interest to different readers. Each philosopher is covered in a section of a few pages outlining the thinker's major ideas, but also containing sidebars with famous quotes, major works, related topics and historical notes. The book is organized chronologically and philosophers are grouped into intellectual movements, introduced and expanded by insets. This format allows the book to be used as a point reference on a single thinker or school of thought, but also reads well from cover to cover as the "story of thought". If you are looking for a good introduction to philosophy, it would be hard to find a more complete, accessible, and universally appealing resource.

    Professor Twombly's introduction and headnotes offer incisive commentary on the texts.

    Never one to be content with yesterday’s baking triumph, however, Peter continues to refine his recipes and techniques in his never-ending quest for extraordinary bread.In The Bread Baker’s Apprentice, Peter shares his latest bread breakthroughs, arising from his study in several of France’s famed boulangeries and the always-enlightening time spent in the culinary academy kitchen with his students. Peer over Peter’s shoulder as he learns from Paris’s most esteemed bakers, like Lionel Poilâne and Phillippe Gosselin, whose pain à l’ancienne has revolutionized the art of baguette making. Then stand alongside his students in the kitchen as Peter teaches the classic twelve stages of building bread, his clear instructions accompanied by over 100 step-by-step photographs.You’ll put newfound knowledge into practice with 50 new master formulas for such classic breads as rustic ciabatta, hearty pain de campagne, old-school New York bagels, and the book’s Holy Grail–Peter’s version of the famed pain à l’ancienne. En route, Peter distills hard science, advanced techniques, and food history into a remarkably accessible and engaging resource that is as rich and multitextured as the loaves you’ll turn out. This is original food writing at its most captivating, teaching at its most inspired and inspiring–and the rewards are some of the best breads under the sun.

    Grant and Murray Ball, his travels to the ends of the earth with his close friend Ed Hillary, and more...

    In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts. A new essay, Changing Notions of the City, traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as Jose Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective andindividual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.

    Finally available in English, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.Here, drawing on a massive body of learning that ranges over ancient philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies.Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.Panofsky articulates these distinct spatial systems, explicating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.

    No one seemed able to agree on a cause. (Dark matter? Tensor–vector–scalar gravity? Collisions with gravitons?) What did seem clear to those who became obsessed with it was that the Pioneer Anomaly had the potential to upend Einstein and Newton—to change everything we know about the universe.With riveting prose and the precision of an expert, Konstantin Kakaes gives us a scientific police procedural, tracking the steps of those who sought to unravel this high-stakes enigma. His thrilling account draws on extensive interviews and archival research, following the story from the Anomaly’s initial discovery, through decades of tireless investigation, to its ultimate conclusion. “The Pioneer Detectives” is a definitive account not just of the Pioneer Anomaly but of how scientific knowledge gets made and unmade, with scientists sometimes putting their livelihoods on the line in pursuit of cosmic truth. Perfect for fans of John McPhee, Thomas Kuhn, and Ed McBain, this is also an immensely enjoyable story accessible to anyone who loves brilliant, fascinating long-form journalism.* * * ABOUT THE AUTHOR: Konstantin Kakaes is a Bernard L. Schwartz fellow at the New America Foundation, writing about science and technology, and is the former Mexico City bureau chief for The Economist. His work has been published in The Wall Street Journal, Foreign Policy, and The Washington Post and appears frequently in Slate. Before becoming a journalist, he studied physics at Harvard University.

    More than 250 color photos.

    At last, a place to record the books you've read. Months and years from now, this journal will help you instantly recall long-forgotten details of your reading experience. This is also the place to record books you'd like to read next (take it with you to the bookstore or library). You'll find pages to list books borrowed, lent, or given (even a place to list books you'd like to give) your book sources, and book group contact information, plus lists of acclaimed authors and titles to inspire future reading choices and a section devoted to your reading life.

    As Venturi's "gentle manifesto for a nonstraightforward architecture," Complexity and Contradiction in Architecture expresses in the most compelling and original terms the postmodern rebellion against the purism of modernism. Three hundred and fifty architectural photographs serve as historical comparisons and illuminate the author's ideas on creating and experiencing architecture. Complexity and Contradiction in Architecture was the winner of the Classic Book Award at the AIA's Seventh Annual International Architecture Book Awards.

    The final chapter, "Apollonian Evaluation of a Dionysian Epoch," discusses the music of our time, with particular reference to the possibility of new methods of harmonic analysis.Structural Functions of Harmony is a standard work on its subject and provides an invaluable key to the development of musical structure during the last two hundred and fifty years. This new edition, with corrections, a new preface, and an index of subject headings, has been prepared under the editorial supervision of Leonard Stein.